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"content": "\u003cp>A classic by all accounts, and an unimprovable symbiosis of content and form, Maurice Sendak’s 1963 children’s book \u003cb>Where the Wild Things Are\u003c/b> ranks high among “Oh no they didn’t” fodder for movie adaptation. But Dave Eggers co-writing the film with director Spike Jonze makes a difference. That seems like reason enough to revisit Sendak’s ten indelibly illustrated sentences about a naughty kid on a tantrum trip to a monster-populated foreign land.\u003c/p>\n\u003cp>Sendak starts his young mischief-maker Max in a home-base bedroom whose atmosphere seems more restive than rest-inducing — like Van Gogh’s bedroom in Arles, with its theatrical perspective uneasily encouraging the expectation of enchantment. Much magic comes from seeing that space dissolved into a forest and later restored, post-tantrum, for an affecting yet unsentimental homecoming. Who in the world could cinematize that, we asked ourselves, if not Eggers and Jonze?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wild-1.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Oh no. They didn’t. Instead they made the place their own, filling the boy’s room and indeed the whole film with vaguely ingratiating signifiers of DIY creative intensity. None of Max’s toys or attitudes appear to be mass-produced, and eventually he comes to inhabit not a Sendak tableau or even a Van Gogh but something like an enormous communal Andy Goldsworthy earthwork. The aesthetic priorities are easy to appreciate, but they exacerbate an attenuating nostalgia. To properly showcase some wonderfully Muppety costumes from Jim Henson’s Creature Shop, \u003cb>Where the Wild Things Are\u003c/b> subordinates CGI effects to the retro-righteous aura of handicraft and lo-fi photorealism: Production designer K.K. Barrett and cinematographer Lance Acord supply an array of dusky hues familiar from the downbeat early-70s pop culture into which Eggers and Jonze were born. It is somehow intrusively pretty.\u003c/p>\n\u003cp>A thrasher in his early years and a \u003cb>Jackass\u003c/b> creator later on, Jonze brings rambunctious agility to the proceedings, with Eggers providing characteristic tenderness and rumination on the fragility of companionship. Many feelings are expressed through leaping and smashing, and the denominator of social interaction is the pile-on, both cozy and smothering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wild-2.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The Wild Things’ community is unharmonious and variously melancholic. Upon making Max their king, one asks, “Will you keep out all the sadness?” And if that seems like a strange thing for a boy’s projected id to say, maybe it’s because these versions of the beasts are meant to be understood as cautionary embodiments of untreated psychic wounds and stunted emotional growth. This same interrogator also shares Max’s anxiety of lost teeth, taking up an adroit motif about fear of life’s funny-gross transitions (into adulthood, into death). Maybe the movie really is about its adapters’ own struggles with holding on to what Sendak’s book has meant to them.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wild-3.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Well stocked with famous adult actors giving fine performances, \u003cb>Where the Wild Things Are\u003c/b> properly belongs to the comprehending and mercifully un-kid-actor-like newcomer Max Records, who nails the openhearted petulance that the part of Max requires. Still, and not surprisingly, the film can’t transcend its basic proportions problem: With the framework so enlarged, the feelings seem to shrink. It stresses soulfulness without always exuding it, and proves again that Sendak already gave his Max and the Wild Things all the characterization they need. What’s more, the notion to remain steadfastly un-Disneyfied soon enough seems like unwillingness to admit that a soundtrack full of Karen O really is just another form of schmaltz. Sendak’s book already has been turned into opera and ballet. Might this new adaptation have worked better as the music video it sometimes wants to be?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wild-2.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The Wild Things’ community is unharmonious and variously melancholic. Upon making Max their king, one asks, “Will you keep out all the sadness?” And if that seems like a strange thing for a boy’s projected id to say, maybe it’s because these versions of the beasts are meant to be understood as cautionary embodiments of untreated psychic wounds and stunted emotional growth. This same interrogator also shares Max’s anxiety of lost teeth, taking up an adroit motif about fear of life’s funny-gross transitions (into adulthood, into death). Maybe the movie really is about its adapters’ own struggles with holding on to what Sendak’s book has meant to them.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wild-3.jpg\" style=\"margin-bottom: 10px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>Well stocked with famous adult actors giving fine performances, \u003cb>Where the Wild Things Are\u003c/b> properly belongs to the comprehending and mercifully un-kid-actor-like newcomer Max Records, who nails the openhearted petulance that the part of Max requires. Still, and not surprisingly, the film can’t transcend its basic proportions problem: With the framework so enlarged, the feelings seem to shrink. It stresses soulfulness without always exuding it, and proves again that Sendak already gave his Max and the Wild Things all the characterization they need. What’s more, the notion to remain steadfastly un-Disneyfied soon enough seems like unwillingness to admit that a soundtrack full of Karen O really is just another form of schmaltz. Sendak’s book already has been turned into opera and ballet. Might this new adaptation have worked better as the music video it sometimes wants to be?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let us begin with a paragraph from Erick Lyle’s book, \u003cb>On the Lower Frequencies: A Secret History of the City\u003c/b>. In a section called “Christmas Day 1999,” Lyle writes:\u003c/p>\n\u003cp>“Lately, my favorite thing has just been hanging out in the train yard. I like to go down there and walk around, spray painting messages on the trains for my friends in other cities. The thing is, they always get them, too. My graffiti somehow gets where it needs to go. I remember Brad and Mike telling me about sitting in the yard in Richmond, on their way down to Miami, watching car after car of my tags go by. Or the time I went on a date in the Alameda Tunnel and later the girl I’d been there with saw the boxcar in another city with “I left my heart in Alameda Tunnel” written on it. One time Anandi was hopping out of Portland, working on a letter to me, and an open boxcar that said “Scam Punks” went by. She should have just put the letter in it! I like going down there to the train yard to miss everybody in the other towns and my friends out there on the road, too. And to hear the ball rattle in the can in the quiet yard, and savor that ‘End of the World,’ no-one-else-around feeling.”\u003c/p>\n\u003cp>What does this have to do with the late, great, captivatingly corduroy-blazered astronomer Carl Sagan, you ask?\u003c/p>\n\u003cp>You don’t ask? Well, now you do. Good. What it has to do with Carl Sagan is plenty, once you contemplate the cosmic undertones.\u003c/p>\n\u003cp>First: Those eve-of-Y2K days seem so far away now, across the expanse of time, yet still in their way so very present. Lyle’s mostly San Franciscan dispatches — gathered into the book from his much-beloved zine, \u003ci>Scam\u003c/i>, his street newspaper, the \u003ci>Turd-Filled Donut\u003c/i>, and even NPR’s \u003cb>This American Life\u003c/b>, among other sources — appear to our eyes now like twinkles in the night from long-dead stars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Second: Lyle is back in town tonight for an evening at Other Cinema called \u003cb>Visible Histories\u003c/b>, sharing the bill with Oscar-nominated local documentarian Sam Green, whose 15-minute film \u003cb>Golden Record\u003c/b> recalls Sagan’s effort to install recorded samplings of human culture on the Voyager spacecraft in 1977.\u003c/p>\n\u003cp>It was sort of like tagging those little ships with “Earth Punks” and sending them out into the lonely abyss — waiting, meanwhile, for the world to end. Sort of.\u003c/p>\n\u003cp>With Oregon filmmaker and installation artist Vanessa Renwick also on hand, showing her own artful observations of space and time and cultural drift, tonight’s event should be edifying. If, 40,000 years hence, the aliens do find that record and come to bust us for polluting the universe with interstellar graffiti, we will know how to handle them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Visible Histories\u003c/b> will appear on Saturday, October 17, 2009, at 8:30 p.m. at Artists Television Access Gallery, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let us begin with a paragraph from Erick Lyle’s book, \u003cb>On the Lower Frequencies: A Secret History of the City\u003c/b>. In a section called “Christmas Day 1999,” Lyle writes:\u003c/p>\n\u003cp>“Lately, my favorite thing has just been hanging out in the train yard. I like to go down there and walk around, spray painting messages on the trains for my friends in other cities. The thing is, they always get them, too. My graffiti somehow gets where it needs to go. I remember Brad and Mike telling me about sitting in the yard in Richmond, on their way down to Miami, watching car after car of my tags go by. Or the time I went on a date in the Alameda Tunnel and later the girl I’d been there with saw the boxcar in another city with “I left my heart in Alameda Tunnel” written on it. One time Anandi was hopping out of Portland, working on a letter to me, and an open boxcar that said “Scam Punks” went by. She should have just put the letter in it! I like going down there to the train yard to miss everybody in the other towns and my friends out there on the road, too. And to hear the ball rattle in the can in the quiet yard, and savor that ‘End of the World,’ no-one-else-around feeling.”\u003c/p>\n\u003cp>What does this have to do with the late, great, captivatingly corduroy-blazered astronomer Carl Sagan, you ask?\u003c/p>\n\u003cp>You don’t ask? Well, now you do. Good. What it has to do with Carl Sagan is plenty, once you contemplate the cosmic undertones.\u003c/p>\n\u003cp>First: Those eve-of-Y2K days seem so far away now, across the expanse of time, yet still in their way so very present. Lyle’s mostly San Franciscan dispatches — gathered into the book from his much-beloved zine, \u003ci>Scam\u003c/i>, his street newspaper, the \u003ci>Turd-Filled Donut\u003c/i>, and even NPR’s \u003cb>This American Life\u003c/b>, among other sources — appear to our eyes now like twinkles in the night from long-dead stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Second: Lyle is back in town tonight for an evening at Other Cinema called \u003cb>Visible Histories\u003c/b>, sharing the bill with Oscar-nominated local documentarian Sam Green, whose 15-minute film \u003cb>Golden Record\u003c/b> recalls Sagan’s effort to install recorded samplings of human culture on the Voyager spacecraft in 1977.\u003c/p>\n\u003cp>It was sort of like tagging those little ships with “Earth Punks” and sending them out into the lonely abyss — waiting, meanwhile, for the world to end. Sort of.\u003c/p>\n\u003cp>With Oregon filmmaker and installation artist Vanessa Renwick also on hand, showing her own artful observations of space and time and cultural drift, tonight’s event should be edifying. If, 40,000 years hence, the aliens do find that record and come to bust us for polluting the universe with interstellar graffiti, we will know how to handle them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Visible Histories\u003c/b> will appear on Saturday, October 17, 2009, at 8:30 p.m. at Artists Television Access Gallery, 992 Valencia Street in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They call it the launching pad for the Oscar campaign. I don’t know who “they” are, but that’s what they call it. Which means classy!\u003c/p>\n\u003cp>But cozy classy (as opposed to, you know, slickly obsequious) because that’s how the Mill Valley Film Festival rolls. The fest turns 32 tonight, and all evidence suggests it has managed to hold on to both its canny programming strategy and its mellow vibe — the latter \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=19687\">praised in this space\u003c/a> a couple of years ago by Michael Fox, who wrote of Mill Valley, “The sunlight feels a little softer than it does in the city, and I bask in the scent of cashmere, coffee and corduroy.”\u003c/p>\n\u003cp>This year, it’ll be handy to feel so relaxed, given 143 films to watch. Not that you’d see them all. Not that you’d even manage to touch down, cinematically speaking, in every one of the 41 represented countries. But you could try.\u003c/p>\n\u003cp>Or you could just keep it indie-local, with the Mission-made comedy \u003cb>Sorry, Thanks\u003c/b>, by Dia Sokol; local filmmaker Rob Nilsson’s \u003cb>Imbued\u003c/b>, a close-quarters downtown drama starring Stacy Keach; North Bay mainstay John Korty’s documentary \u003cb>Miracle in a Box: A Piano Reborn\u003c/b>, about an East Bay artisanal piano restoration company at work; \u003cb>Saint Misbehavin’: The Wavy Gravy Movie\u003c/b>, which should be self-explanatory; and \u003cb>Tenderloin\u003c/b>, a drama shot there by director Michael Anderson; among several others.\u003c/p>\n\u003cp>Of course the MVFF also affords an easy way to be part of the buzz machine for studio-sanctioned films due soon in theatrical release, such as \u003cb>The Boys Are Back\u003c/b>, \u003cb>An Education\u003c/b>, \u003cb>Precious: Based on the Novel “Push” by Sapphire\u003c/b>, \u003cb>The Horse Boy\u003c/b> and \u003cb>The Road\u003c/b>. Plus, famous and quasi-famous people will make personal appearances: Clive Owen (with \u003cb>The Boys Are Back\u003c/b>), Uma Thurman (with \u003cb>Motherhood\u003c/b>), Woody Harrelson (with \u003cb>The Messenger\u003c/b>), and director Jason Reitman (with \u003cb>Up In the Air\u003c/b>). \u003cb>Coraline\u003c/b> director and animator Henry Selick will discuss his work, and Seymour Cassel will talk about the actor’s craft with Rob Nilsson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So whether this time-tested fest is a harbinger of awards-season prestige or just a welcome final nail in the coffin of a rubbishy moviegoing summer is up to you. For your consideration, as it were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Mill Valley Film Festival\u003c/b> runs from October 8-18, 2009, at multiple venues. For \u003ca href=\"http://2009.mvff.com\">tickets and information\u003c/a>, visit 2009.mvff.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it the launching pad for the Oscar campaign. I don’t know who “they” are, but that’s what they call it. Which means classy!\u003c/p>\n\u003cp>But cozy classy (as opposed to, you know, slickly obsequious) because that’s how the Mill Valley Film Festival rolls. The fest turns 32 tonight, and all evidence suggests it has managed to hold on to both its canny programming strategy and its mellow vibe — the latter \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=19687\">praised in this space\u003c/a> a couple of years ago by Michael Fox, who wrote of Mill Valley, “The sunlight feels a little softer than it does in the city, and I bask in the scent of cashmere, coffee and corduroy.”\u003c/p>\n\u003cp>This year, it’ll be handy to feel so relaxed, given 143 films to watch. Not that you’d see them all. Not that you’d even manage to touch down, cinematically speaking, in every one of the 41 represented countries. But you could try.\u003c/p>\n\u003cp>Or you could just keep it indie-local, with the Mission-made comedy \u003cb>Sorry, Thanks\u003c/b>, by Dia Sokol; local filmmaker Rob Nilsson’s \u003cb>Imbued\u003c/b>, a close-quarters downtown drama starring Stacy Keach; North Bay mainstay John Korty’s documentary \u003cb>Miracle in a Box: A Piano Reborn\u003c/b>, about an East Bay artisanal piano restoration company at work; \u003cb>Saint Misbehavin’: The Wavy Gravy Movie\u003c/b>, which should be self-explanatory; and \u003cb>Tenderloin\u003c/b>, a drama shot there by director Michael Anderson; among several others.\u003c/p>\n\u003cp>Of course the MVFF also affords an easy way to be part of the buzz machine for studio-sanctioned films due soon in theatrical release, such as \u003cb>The Boys Are Back\u003c/b>, \u003cb>An Education\u003c/b>, \u003cb>Precious: Based on the Novel “Push” by Sapphire\u003c/b>, \u003cb>The Horse Boy\u003c/b> and \u003cb>The Road\u003c/b>. Plus, famous and quasi-famous people will make personal appearances: Clive Owen (with \u003cb>The Boys Are Back\u003c/b>), Uma Thurman (with \u003cb>Motherhood\u003c/b>), Woody Harrelson (with \u003cb>The Messenger\u003c/b>), and director Jason Reitman (with \u003cb>Up In the Air\u003c/b>). \u003cb>Coraline\u003c/b> director and animator Henry Selick will discuss his work, and Seymour Cassel will talk about the actor’s craft with Rob Nilsson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So whether this time-tested fest is a harbinger of awards-season prestige or just a welcome final nail in the coffin of a rubbishy moviegoing summer is up to you. For your consideration, as it were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Mill Valley Film Festival\u003c/b> runs from October 8-18, 2009, at multiple venues. For \u003ca href=\"http://2009.mvff.com\">tickets and information\u003c/a>, visit 2009.mvff.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Close to Home\u003c/strong> follows the story of a father broken from the loss of his son, and a daughter waiting for the father that she once had. Through his passionate advocacy to find his son’s murderer, Luis Marquez has lost sight of his family. The Marquez family now suffers the absence of a father, along with the brutal loss of a son. Luis’ daughter, Norma, expounds on the fragile mind-state of her father, and their tenuous relationship, as she sets up an altar welcoming Brian’s spirit back into the house on the traditional Mexican holiday of the Day of the Dead. \u003cstrong>Close to Home\u003c/strong> employs a haunting score, combined with black and white imagery to frame this story of a father trying to find a way to continue with life, and become the father he has always wanted to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>After two decades in the spotlight and the crosshairs, Michael Moore is both a brand name and a lightning rod. Those on the left of the political divide generally embrace him as a fearless rebutter of right-wing propaganda, while the Fox News crowd despises him as a radical and a traitor. This load of baggage attends every new Moore documentary, blurring and obscuring the actual subject matter.\u003c/p>\n\u003cp>Moore must assume some of the responsibility, because he created and long relished an egotistical screen persona that polarized audiences. (Even among those who share his politics, a sizable number abhor his approach and style.) The combination of working-class underdog and hulking bully has carried him a lot further — and earned him more enemies — than anyone could have foreseen, but Moore seems to have arrived at the realization that typecasting is rarely good for a performer’s career.\u003c/p>\n\u003cp>That’s one way of saying that the most noteworthy aspect of \u003cb>Capitalism: A Love Story\u003c/b> is its tone. Moore’s narration is less strident, less righteously indignant, less mocking. The edge is gone, mostly, but so is the thrill. George W. Bush plainly inspired Moore’s fury by wreaking destruction on the bottom 90 percent of the population while smirking all the while, and his disappearance from the national stage has had a tonic effect on the big man. Many of the policies that Moore railed against are slowly being rectified and revised with Barack Obama in the White House. This is not a moment to rant, although that time may come again.\u003c/p>\n\u003cp>The calmer, reined-in Moore on display in \u003cb>Capitalism: A Love Story\u003c/b> may also reflect a calculated strategy to reach beyond the 30 to 50 percent of the country that’s agreed with him all along. A goodly number of his supporters, going back to \u003cb>Roger and Me\u003c/b>, complained that the messenger was getting in the way of the message, so we can imagine the nails-on-blackboard effect of Moore’s voice on those who don’t embrace his worldview.\u003c/p>\n\u003cp>Another factor is that the mood of the U.S. has shifted in Moore’s direction over the last decade. The once-popular invasion of Iraq (referenced in \u003cb>Fahrenheit 9/11\u003c/b>) is now widely seen as a fiasco, and a majority supports a public option for health insurance (\u003cb>Sicko\u003c/b>). Most centrally, we’ve reached the point where the entire country is feeling the pain of the Great Recession. Moore doesn’t need to shout about the horrific side effects of capitalism, because more and more people are experiencing them each day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, for the first time in his career Moore is behind the curve. Most of the segments in \u003cb>Capitalism: A Love Story\u003c/b> — on foreclosures and evictions, Congressmen who received sweetheart mortgages from Countrywide Financial (while all parties were screwing the little guy), low-paid airline pilots (for the growing commuter lines), a scandalous private juvenile detention facility in Pennsylvania, the collapse and bailout of Wall Street — aren’t breaking news to anybody who’s been paying the slightest attention in recent years. This isn’t a failing on the filmmaker’s part so much as the price of success, for his commercially successful and opinion-shifting movies paved the way for such exposés of the U.S. economic system as \u003cb>Enron: The Smartest Guys in the Room\u003c/b>, \u003cb>I.O.U.S.A.\u003c/b>, \u003cb>American Casino\u003c/b>, \u003cb>Thirst\u003c/b>, \u003cb>Crude\u003c/b> and a couple of dozen others.\u003c/p>\n\u003cp>Moore long had the field to himself, spotlighting lives and highlighting injustices that never made the evening news. I’m sure he welcomes the “competition,” even though this new film lacks the iconic moments — hilarious, shocking or infuriating — that defined his previous marauding documentaries. \u003cb>Capitalism: A Love Story\u003c/b> isn’t the heat-seeking missile through the culture that \u003cb>Bowling For Columbine\u003c/b> and \u003cb>Fahrenheit 9/11\u003c/b> were, but it may prove to be a turning point in Michael Moore’s unlikely path to becoming all of America’s filmmaker. Or is that a bipartisan fantasy on par with Pres. Obama’s?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Capitalism: A Love Story\u003c/b> opens Friday, October 2, 2009 at the Embarcadero Center Cinemas in San Francisco, the California in Berkeley and the Piedmont.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After two decades in the spotlight and the crosshairs, Michael Moore is both a brand name and a lightning rod. Those on the left of the political divide generally embrace him as a fearless rebutter of right-wing propaganda, while the Fox News crowd despises him as a radical and a traitor. This load of baggage attends every new Moore documentary, blurring and obscuring the actual subject matter.\u003c/p>\n\u003cp>Moore must assume some of the responsibility, because he created and long relished an egotistical screen persona that polarized audiences. (Even among those who share his politics, a sizable number abhor his approach and style.) The combination of working-class underdog and hulking bully has carried him a lot further — and earned him more enemies — than anyone could have foreseen, but Moore seems to have arrived at the realization that typecasting is rarely good for a performer’s career.\u003c/p>\n\u003cp>That’s one way of saying that the most noteworthy aspect of \u003cb>Capitalism: A Love Story\u003c/b> is its tone. Moore’s narration is less strident, less righteously indignant, less mocking. The edge is gone, mostly, but so is the thrill. George W. Bush plainly inspired Moore’s fury by wreaking destruction on the bottom 90 percent of the population while smirking all the while, and his disappearance from the national stage has had a tonic effect on the big man. Many of the policies that Moore railed against are slowly being rectified and revised with Barack Obama in the White House. This is not a moment to rant, although that time may come again.\u003c/p>\n\u003cp>The calmer, reined-in Moore on display in \u003cb>Capitalism: A Love Story\u003c/b> may also reflect a calculated strategy to reach beyond the 30 to 50 percent of the country that’s agreed with him all along. A goodly number of his supporters, going back to \u003cb>Roger and Me\u003c/b>, complained that the messenger was getting in the way of the message, so we can imagine the nails-on-blackboard effect of Moore’s voice on those who don’t embrace his worldview.\u003c/p>\n\u003cp>Another factor is that the mood of the U.S. has shifted in Moore’s direction over the last decade. The once-popular invasion of Iraq (referenced in \u003cb>Fahrenheit 9/11\u003c/b>) is now widely seen as a fiasco, and a majority supports a public option for health insurance (\u003cb>Sicko\u003c/b>). Most centrally, we’ve reached the point where the entire country is feeling the pain of the Great Recession. Moore doesn’t need to shout about the horrific side effects of capitalism, because more and more people are experiencing them each day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, for the first time in his career Moore is behind the curve. Most of the segments in \u003cb>Capitalism: A Love Story\u003c/b> — on foreclosures and evictions, Congressmen who received sweetheart mortgages from Countrywide Financial (while all parties were screwing the little guy), low-paid airline pilots (for the growing commuter lines), a scandalous private juvenile detention facility in Pennsylvania, the collapse and bailout of Wall Street — aren’t breaking news to anybody who’s been paying the slightest attention in recent years. This isn’t a failing on the filmmaker’s part so much as the price of success, for his commercially successful and opinion-shifting movies paved the way for such exposés of the U.S. economic system as \u003cb>Enron: The Smartest Guys in the Room\u003c/b>, \u003cb>I.O.U.S.A.\u003c/b>, \u003cb>American Casino\u003c/b>, \u003cb>Thirst\u003c/b>, \u003cb>Crude\u003c/b> and a couple of dozen others.\u003c/p>\n\u003cp>Moore long had the field to himself, spotlighting lives and highlighting injustices that never made the evening news. I’m sure he welcomes the “competition,” even though this new film lacks the iconic moments — hilarious, shocking or infuriating — that defined his previous marauding documentaries. \u003cb>Capitalism: A Love Story\u003c/b> isn’t the heat-seeking missile through the culture that \u003cb>Bowling For Columbine\u003c/b> and \u003cb>Fahrenheit 9/11\u003c/b> were, but it may prove to be a turning point in Michael Moore’s unlikely path to becoming all of America’s filmmaker. Or is that a bipartisan fantasy on par with Pres. Obama’s?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Capitalism: A Love Story\u003c/b> opens Friday, October 2, 2009 at the Embarcadero Center Cinemas in San Francisco, the California in Berkeley and the Piedmont.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I’m the only one with Chanel couture. Let them kiss my buttons.” -Patsy Stone, \u003cb>Absolutely Fabulous\u003c/b>\u003c/p>\n\u003cp>How does an ingénue capitalize on her first movie’s success — the one that makes her a household name, and a star? You must have the following materials in stock (Hope Davis, are you reading this?): the actress must be savvy enough to know what her strengths and limitations are; the script either captures the zeitgeist, or tells a mild, widely accessible story; and the director, somehow, finds a way to unveil the muse. Apart from employing a fame-hungry entourage, that magical combination of actress/script/director, which shapes the audience’s initial reception of the ingénue, all depends upon her ability to choose the next, right film (see Audrey Hepburn vs. Jean Seberg).\u003c/p>\n\u003cp>When Shirley MacLaine walks in front of the camera for the first time in Alfred Hitchcock’s \u003cb>The Trouble with Harry\u003c/b> (1955), her lack of artifice, coupled with her natural quirkiness, beams right through the drab housedress she sports; her movements are calm and confident — she’s ready for trouble. By the time Billy Wilder’s \u003cb>The Apartment\u003c/b> (1960) is released, MacLaine has added a layer of complexity to our original impression of her. The ingénue has to grow up at some point. MacLaine, instead of running from that fact, allows a fragility into her performance, and her cinematic evolution begins.\u003c/p>\n\u003cp>With the release of \u003cb>Coco Before Chanel\u003c/b>, we are confronted with a shock: where on earth did Audrey Tautou’s charm and vitality go? It’s been torn to shreds, and all for the sake of a rote, dreary biopic that borrows its narrative arc from \u003cb>La Vie en Rose\u003c/b> (2007), but lacks that film’s color and passion. (Marion Cotillard won the Best Actress Oscar that year for her performance as Edith Piaf). In \u003cb>Amélie\u003c/b> (2001), Tautou, a rail-thin waif with a mischievous grin that did nothing but embolden her, captured the attention of every art house moviegoer that year. The audience rooted for her character, and longed for Amélie to get her man.\u003c/p>\n\u003cp>Clearly wanting to be more than an endearing gamine, Tautou was part of an ensemble cast in Stephen Frears’ gritty London-based drama \u003cb>Dirty Pretty Things\u003c/b> (2002). She succeeded in the role of a Turkish immigrant, in part, because the film doesn’t solely depend upon her performance. However, it wasn’t until last year’s \u003cb>Priceless\u003c/b>, that Tautou landed a role which accesses the charm we first recognized, and then inverts that very same girlish charm by placing it in the character of a high-class prostitute. This film recognized her range, and her limitations; Tautou succeeds as a comedienne, whether the subject is light or dark.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as Coco Chanel, Tautou is as rigid and humorless as a corset, unable to breathe life into the character. The director, Anne Fontaine, frames her subject, in at least three scenes, as a lone figure out of a painting by a realist Magritte: center stage, black-hatted and staring out into the middle distance. This kind of mournful sighing didn’t work for Natalie Wood in the 1960s; it doesn’t work any better now. The script wreaks of melodrama, and the direction is strangely tepid, as if everyone involved were intent on making a dull history lesson. (The brave exception is Emmanuelle Devos: she steals the film with her innate wit and intelligence).\u003c/p>\n\u003cp>Chanel, the woman, became a fashion icon because she altered the way women wore their clothes, from constraint to comfort. After the success of \u003cb>La Vie en Rose\u003c/b>, whose timeline roughly parallels that of \u003cb>Coco Before Chanel\u003c/b>, the producers must have thought \u003cb>Amélie\u003c/b> + Chanel = box-office pearls. Whereas Marion Cotillard’s performance is heartbreaking, Tautou never manages to do more than wield a thimble well. Perhaps it is unfair to compare the two performances: it’s more compelling to watch a heroin-addicted songbird stumble across a stage, than it is to watch someone sew. The last shot of the film, a close-up, suggests that Tautou’s face will become more interesting as she ages. I will be on the lookout for her again, but in a role that’s, well, better tailored to suit her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Coco Before Chanel\u003c/b> opens October 2, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m the only one with Chanel couture. Let them kiss my buttons.” -Patsy Stone, \u003cb>Absolutely Fabulous\u003c/b>\u003c/p>\n\u003cp>How does an ingénue capitalize on her first movie’s success — the one that makes her a household name, and a star? You must have the following materials in stock (Hope Davis, are you reading this?): the actress must be savvy enough to know what her strengths and limitations are; the script either captures the zeitgeist, or tells a mild, widely accessible story; and the director, somehow, finds a way to unveil the muse. Apart from employing a fame-hungry entourage, that magical combination of actress/script/director, which shapes the audience’s initial reception of the ingénue, all depends upon her ability to choose the next, right film (see Audrey Hepburn vs. Jean Seberg).\u003c/p>\n\u003cp>When Shirley MacLaine walks in front of the camera for the first time in Alfred Hitchcock’s \u003cb>The Trouble with Harry\u003c/b> (1955), her lack of artifice, coupled with her natural quirkiness, beams right through the drab housedress she sports; her movements are calm and confident — she’s ready for trouble. By the time Billy Wilder’s \u003cb>The Apartment\u003c/b> (1960) is released, MacLaine has added a layer of complexity to our original impression of her. The ingénue has to grow up at some point. MacLaine, instead of running from that fact, allows a fragility into her performance, and her cinematic evolution begins.\u003c/p>\n\u003cp>With the release of \u003cb>Coco Before Chanel\u003c/b>, we are confronted with a shock: where on earth did Audrey Tautou’s charm and vitality go? It’s been torn to shreds, and all for the sake of a rote, dreary biopic that borrows its narrative arc from \u003cb>La Vie en Rose\u003c/b> (2007), but lacks that film’s color and passion. (Marion Cotillard won the Best Actress Oscar that year for her performance as Edith Piaf). In \u003cb>Amélie\u003c/b> (2001), Tautou, a rail-thin waif with a mischievous grin that did nothing but embolden her, captured the attention of every art house moviegoer that year. The audience rooted for her character, and longed for Amélie to get her man.\u003c/p>\n\u003cp>Clearly wanting to be more than an endearing gamine, Tautou was part of an ensemble cast in Stephen Frears’ gritty London-based drama \u003cb>Dirty Pretty Things\u003c/b> (2002). She succeeded in the role of a Turkish immigrant, in part, because the film doesn’t solely depend upon her performance. However, it wasn’t until last year’s \u003cb>Priceless\u003c/b>, that Tautou landed a role which accesses the charm we first recognized, and then inverts that very same girlish charm by placing it in the character of a high-class prostitute. This film recognized her range, and her limitations; Tautou succeeds as a comedienne, whether the subject is light or dark.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as Coco Chanel, Tautou is as rigid and humorless as a corset, unable to breathe life into the character. The director, Anne Fontaine, frames her subject, in at least three scenes, as a lone figure out of a painting by a realist Magritte: center stage, black-hatted and staring out into the middle distance. This kind of mournful sighing didn’t work for Natalie Wood in the 1960s; it doesn’t work any better now. The script wreaks of melodrama, and the direction is strangely tepid, as if everyone involved were intent on making a dull history lesson. (The brave exception is Emmanuelle Devos: she steals the film with her innate wit and intelligence).\u003c/p>\n\u003cp>Chanel, the woman, became a fashion icon because she altered the way women wore their clothes, from constraint to comfort. After the success of \u003cb>La Vie en Rose\u003c/b>, whose timeline roughly parallels that of \u003cb>Coco Before Chanel\u003c/b>, the producers must have thought \u003cb>Amélie\u003c/b> + Chanel = box-office pearls. Whereas Marion Cotillard’s performance is heartbreaking, Tautou never manages to do more than wield a thimble well. Perhaps it is unfair to compare the two performances: it’s more compelling to watch a heroin-addicted songbird stumble across a stage, than it is to watch someone sew. The last shot of the film, a close-up, suggests that Tautou’s face will become more interesting as she ages. I will be on the lookout for her again, but in a role that’s, well, better tailored to suit her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Coco Before Chanel\u003c/b> opens October 2, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For those familiar with the subjects of Jennifer Kroot’s new documentary, \u003ci>It Came from Kuchar\u003c/i>, the title will seem keenly apt. Others may wonder, “Just what is this ‘Kuchar’ of which she speaks? What comes from it? Should I be worried?”\u003c/p>\n\u003cp>Kuchar is the surname of filmmaking twins George and Mike, but also, as Kroot’s movie winkingly suggests, a place: the brothers’ common landscape of camped-up cinematic imagination. The realm of Kuchar, though unmistakable for its peculiar topography, isn’t one you’ll find on any map, because it has no boundaries. Like, really, none whatsoever. Frequenters include John Waters and Zippy the Pinhead creator Bill Griffith, if that gives you any idea. Its most basic characteristics may be attributed to a Bronx upbringing, in which the psychic vagaries of twinhood combined energetically with early exposure to Douglas Sirk melodramas and other soft-filtered Hollywood mythology. But lately it has been localized to the San Francisco Art Institute, where George has been warping young minds since 1971, one fully collaborative no-budget class-project movie at a time.\u003c/p>\n\u003cp>What comes from Kuchar is experimental filmmaking of a sort that instinctively disregards the expected tropes of experimental filmmaking. So no, there’s not much in the way of chic, Warholian detachment or formally exploratory Brakhage-esque abstraction. Instead, the movies are sort of adorably deviant, innocently transgressive, and so effusively sincere that they encourage viewers to become racked with guffaws one moment and haltingly \u003ci>verklempt\u003c/i> the next.\u003c/p>\n\u003cp>Randomly chosen titles from the Kuchar filmography evince keen aesthetic discernment (\u003ci>The Naked and the Nude\u003c/i>), exquisite existential sensitivity (\u003ci>Orphans of the Cosmos\u003c/i>), and practical world wisdom (\u003ci>The Devil’s Cleavage\u003c/i>), not to mention uncommon narrative precision (\u003ci>The Craven Sluck\u003c/i>).\u003c/p>\n\u003cp>“It’s hilarious to try to decide whether George’s films are coming from a place of freedom and defiance or a place of shame,” says the critic and cultural theorist B. Ruby Rich in Kroot’s film. “I wouldn’t know where to start.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>It Came from Kuchar\u003c/i> isn’t a hagiography, but it is affectionate, and necessarily indulgent. When you get John Waters on the record saying that George Kuchar should be knighted, you really have hit the bullseye, and there’s no need then to bend over backwards tracking down somebody somewhere who’ll say that, no, George Kuchar probably shouldn’t be knighted.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As to whether you should be worried, just understand that Kuchar is like a genie’s lamp, or a Pandora’s box, or a tube of Swedish reindeer meat or KY Jelly. Whatever comes from it can’t ever be put back.\u003c/p>\n\n",
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"content": "\u003cp>If, as a director, \u003ca href=\"http://www.ingmarbergman.se/\" target=\"offsite\" rel=\"noopener\">Ingmar Bergman\u003c/a> was profoundly subjective, delving inside the psyches of his ponderous characters who reflected images of a fractured society, then \u003ca href=\"http://www.royandersson.com/en/index.htm\" target=\"offsite\" rel=\"noopener\">Roy Andersson\u003c/a> is profoundly objective in his belief that the source of our neuroses is a troubled society that distorts and shatters our fragile sense of self. Unlike a fictional Bergman family or marriage, Andersson’s characters utter their interior monologues in isolation: some great harm has lodged inside of them, and no amount of navel-gazing or analysis will unloose the damage. In \u003cb>You, the Living\u003c/b> (2007), his first film in seven years, Andersson expertly frames the camera and its depth of field to illuminate the emotional states of his characters.\u003c/p>\n\u003cp>In scene after scene, everything is filmed in lurid, acidic shades of green: from dresses, curtains and doorways, to the color of the actors’ complexions. Is it dawn or twilight in this Nordic place, this refuge for zombies? Has the sun bleached every building, wall and room of color, or has it been extinguished by a relentless fog that nothing can shine through? Whereas the director \u003ca href=\"http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/homeeng.htm\" target=\"offsite\" rel=\"noopener\">Pedro Almodóvar\u003c/a> uses the color red to accentuate the Spanish soul, Andersson flays his fellow Swedes right open, only to find a bilious core. Human connection is out of the question.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/you-the-living.jpg\">\u003c/center>\n\u003cp>And yet, something has changed in Andersson’s work from his previous film, \u003cb>Songs from the Second Floor\u003c/b> (2000): he’s added music as a central character. The addition of grace notes to the material lifts the content from oppressive drear to sardonic farce. In this chartreuse world, I found myself laughing with delight at the unexpected use of a tuba; at a woman breaking into a comic dirge on a park bench; at a cavernous room full of nattily dressed diners singing a patriotic song in unison. There is no plot to speak of, no story arc to follow, but all the characters are united by music, in a concrete city shimmering green, and by the recitation of their dreams.\u003c/p>\n\u003cp>On this preconscious continent, we listen to a collection of postmodern fables. One woman wants a motorcycle to ride away on from her unhappiness; another dreams of a marriage that will never take place. The cement mixer dreams of his own execution for a ridiculous crime. A psychiatrist faces the camera, directly addressing the viewer, confessing his professional fatigue. Someone just misses an elevator (no one holds the door for him). A suitor carries a bouquet of flowers to his sweetheart’s door as she slams it shut on the blooms, while down the hall an enraged black dog barks. Dream logic is all that applies here; it is both droll and chilling to behold.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andersson has said, “It can be disconcerting to feel both sad and happy at the same time.” Like one of Joseph Cornell’s boxes, assembled by careful, agile hands, this film is filled with unexpected visual complexities that yield themselves up as the camera moves inside the mise en scène. Whether it be a hospital, a school or a crowded bus shelter on a rain-soaked street, the camera captures this population of still lifes. They wake up and are in sudden motion when they notice us, the viewers; the act of watching animates them for a brief spell, and they tell us their dreams. When you wake up at 4 a.m. after a nightmare, it’s hard to shake off the fear that you are alone in the world. In the end, \u003cb>You, the Living\u003c/b> makes no claim to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>You, the Living\u003c/b> opens on Friday, September 25, 2009 at the Sundance Kabuki Cinema. For \u003ca href=\"http://www.sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and more information\u003c/a>, visit sundancecinemas.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If, as a director, \u003ca href=\"http://www.ingmarbergman.se/\" target=\"offsite\" rel=\"noopener\">Ingmar Bergman\u003c/a> was profoundly subjective, delving inside the psyches of his ponderous characters who reflected images of a fractured society, then \u003ca href=\"http://www.royandersson.com/en/index.htm\" target=\"offsite\" rel=\"noopener\">Roy Andersson\u003c/a> is profoundly objective in his belief that the source of our neuroses is a troubled society that distorts and shatters our fragile sense of self. Unlike a fictional Bergman family or marriage, Andersson’s characters utter their interior monologues in isolation: some great harm has lodged inside of them, and no amount of navel-gazing or analysis will unloose the damage. In \u003cb>You, the Living\u003c/b> (2007), his first film in seven years, Andersson expertly frames the camera and its depth of field to illuminate the emotional states of his characters.\u003c/p>\n\u003cp>In scene after scene, everything is filmed in lurid, acidic shades of green: from dresses, curtains and doorways, to the color of the actors’ complexions. Is it dawn or twilight in this Nordic place, this refuge for zombies? Has the sun bleached every building, wall and room of color, or has it been extinguished by a relentless fog that nothing can shine through? Whereas the director \u003ca href=\"http://www.clubcultura.com/clubcine/clubcineastas/almodovar/eng/homeeng.htm\" target=\"offsite\" rel=\"noopener\">Pedro Almodóvar\u003c/a> uses the color red to accentuate the Spanish soul, Andersson flays his fellow Swedes right open, only to find a bilious core. Human connection is out of the question.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/you-the-living.jpg\">\u003c/center>\n\u003cp>And yet, something has changed in Andersson’s work from his previous film, \u003cb>Songs from the Second Floor\u003c/b> (2000): he’s added music as a central character. The addition of grace notes to the material lifts the content from oppressive drear to sardonic farce. In this chartreuse world, I found myself laughing with delight at the unexpected use of a tuba; at a woman breaking into a comic dirge on a park bench; at a cavernous room full of nattily dressed diners singing a patriotic song in unison. There is no plot to speak of, no story arc to follow, but all the characters are united by music, in a concrete city shimmering green, and by the recitation of their dreams.\u003c/p>\n\u003cp>On this preconscious continent, we listen to a collection of postmodern fables. One woman wants a motorcycle to ride away on from her unhappiness; another dreams of a marriage that will never take place. The cement mixer dreams of his own execution for a ridiculous crime. A psychiatrist faces the camera, directly addressing the viewer, confessing his professional fatigue. Someone just misses an elevator (no one holds the door for him). A suitor carries a bouquet of flowers to his sweetheart’s door as she slams it shut on the blooms, while down the hall an enraged black dog barks. Dream logic is all that applies here; it is both droll and chilling to behold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andersson has said, “It can be disconcerting to feel both sad and happy at the same time.” Like one of Joseph Cornell’s boxes, assembled by careful, agile hands, this film is filled with unexpected visual complexities that yield themselves up as the camera moves inside the mise en scène. Whether it be a hospital, a school or a crowded bus shelter on a rain-soaked street, the camera captures this population of still lifes. They wake up and are in sudden motion when they notice us, the viewers; the act of watching animates them for a brief spell, and they tell us their dreams. When you wake up at 4 a.m. after a nightmare, it’s hard to shake off the fear that you are alone in the world. In the end, \u003cb>You, the Living\u003c/b> makes no claim to the contrary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>You, the Living\u003c/b> opens on Friday, September 25, 2009 at the Sundance Kabuki Cinema. For \u003ca href=\"http://www.sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and more information\u003c/a>, visit sundancecinemas.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Steven Soderbergh is our most adventurous, creative and prolific director. Inevitably, his experiments don’t always work. Like Atom Egoyan, he’s often too smart and restless for “his own good,” but it’s far better that we cherish our overreachers than demand they embrace the mediocrity of their peers.\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> is a return to the surreal office environment of Soderbergh’s little-seen, mostly brilliant \u003cb>Schizopolis\u003c/b> and a rebuttal to the inspiring little-guy-beats-the-corporation homilies of his \u003cb>Erin Brockovich\u003c/b>. This kooky, fact-based yarn about an Archer Daniels Midland exec who clues in the FBI about a price-fixing scheme he’s part of can also be viewed as the flip side of the director’s other 2009 release, \u003cb>The Girlfriend Experience\u003c/b>. That film is centered on a well-off urban consumer (a high-priced escort) who spends as much time soliciting recession-era economic advice as she does shopping and having sex. \u003cb>The Informant!\u003c/b> takes us into the executive suite to introduce us to the puppet masters pulling the strings of our corrupt system.\u003c/p>\n\u003cp>The joke is that they aren’t sleek masters of the universe but complacent Midwestern schlubs with expanding waistlines. The other jokes in the movie I don’t quite get, I confess. The story takes place in the early 1990s, but Soderbergh employs a title font and visual scheme borrowed from ’70s sitcoms and game shows. Marvin Hamlisch, arguably best known for \u003cb>The Sting\u003c/b> (1973), handles the composing duties. The overall air of goofiness, which extends to the exclamation point in the title, carries the film a certain distance but not all the way; at some point, we question who we’re laughing with, or at.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/informant.jpg\">\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> is told through the eyes and voice of Mark Whitacre (Matt Damon, doing a fine job of playing a nonentity who thinks he’s smarter than everyone else), and it takes no more than five minutes to realize that he’s an unreliable narrator. It’s a clever conceit, but the problem with Mark’s internal, increasingly deluded commentary is that it gradually makes us stop identifying or empathizing with him. At that point, the film loses its center. And when his self-deception becomes clinical, the laughter catches in our throats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most subversive aspect of \u003cb>The Informant!\u003c/b> is its offhand treatment of corporate malfeasance. It’s a daring strategy to address the Big Issue of economic corruption (corporate and individual) without a single earnest moment — an approach that could be mistaken for a lack of sincerity — even in our cynical, post-Madoff world. Tone aside, Soderbergh reveals and then distracts us, through Whitacre’s endlessly evolving and hopelessly confusing fabrications, from the basic truth that ADM fixed prices. If there’s a moral in this morass, Soderbergh won’t deign to point it out.\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> starts out as a hoot, but the fun starts leaching out of Whitacre’s escapades around the halfway point. That’s clearly by design, but Soderbergh doesn’t provide enough emotional depth or social insight to make up the deficit (pun intended). The upshot is that what sticks with us is the movie’s style, not its substance. Which makes perfect sense if we recognize \u003cb>The Informant!\u003c/b> as a modern-day re-interpretation of “The Price Is Right.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> opens Friday, September 18, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steven Soderbergh is our most adventurous, creative and prolific director. Inevitably, his experiments don’t always work. Like Atom Egoyan, he’s often too smart and restless for “his own good,” but it’s far better that we cherish our overreachers than demand they embrace the mediocrity of their peers.\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> is a return to the surreal office environment of Soderbergh’s little-seen, mostly brilliant \u003cb>Schizopolis\u003c/b> and a rebuttal to the inspiring little-guy-beats-the-corporation homilies of his \u003cb>Erin Brockovich\u003c/b>. This kooky, fact-based yarn about an Archer Daniels Midland exec who clues in the FBI about a price-fixing scheme he’s part of can also be viewed as the flip side of the director’s other 2009 release, \u003cb>The Girlfriend Experience\u003c/b>. That film is centered on a well-off urban consumer (a high-priced escort) who spends as much time soliciting recession-era economic advice as she does shopping and having sex. \u003cb>The Informant!\u003c/b> takes us into the executive suite to introduce us to the puppet masters pulling the strings of our corrupt system.\u003c/p>\n\u003cp>The joke is that they aren’t sleek masters of the universe but complacent Midwestern schlubs with expanding waistlines. The other jokes in the movie I don’t quite get, I confess. The story takes place in the early 1990s, but Soderbergh employs a title font and visual scheme borrowed from ’70s sitcoms and game shows. Marvin Hamlisch, arguably best known for \u003cb>The Sting\u003c/b> (1973), handles the composing duties. The overall air of goofiness, which extends to the exclamation point in the title, carries the film a certain distance but not all the way; at some point, we question who we’re laughing with, or at.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/informant.jpg\">\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> is told through the eyes and voice of Mark Whitacre (Matt Damon, doing a fine job of playing a nonentity who thinks he’s smarter than everyone else), and it takes no more than five minutes to realize that he’s an unreliable narrator. It’s a clever conceit, but the problem with Mark’s internal, increasingly deluded commentary is that it gradually makes us stop identifying or empathizing with him. At that point, the film loses its center. And when his self-deception becomes clinical, the laughter catches in our throats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most subversive aspect of \u003cb>The Informant!\u003c/b> is its offhand treatment of corporate malfeasance. It’s a daring strategy to address the Big Issue of economic corruption (corporate and individual) without a single earnest moment — an approach that could be mistaken for a lack of sincerity — even in our cynical, post-Madoff world. Tone aside, Soderbergh reveals and then distracts us, through Whitacre’s endlessly evolving and hopelessly confusing fabrications, from the basic truth that ADM fixed prices. If there’s a moral in this morass, Soderbergh won’t deign to point it out.\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> starts out as a hoot, but the fun starts leaching out of Whitacre’s escapades around the halfway point. That’s clearly by design, but Soderbergh doesn’t provide enough emotional depth or social insight to make up the deficit (pun intended). The upshot is that what sticks with us is the movie’s style, not its substance. Which makes perfect sense if we recognize \u003cb>The Informant!\u003c/b> as a modern-day re-interpretation of “The Price Is Right.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Informant!\u003c/b> opens Friday, September 18, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The beach known as “The Children’s Pool” in La Jolla, California, has been a point of pride in the town for 75 years. Today, however, almost no one goes there to swim, since a pod of 200 harbor seals took up residence on the sand. Should La Jolla return the beach to use by people or make it a seal preserve? The answer might not be as simple as it seems. \u003cstrong>Sealed Off!!!\u003c/strong> takes a quirky look at this unusual controversy through the eyes of some of the people most intimately connected to it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Rogue Wave was my favorite band long before I knew front man Zach Rogue was from Oakland, or that the rest of the band was from the same Midwest town where I spent much of my youth. Their music has pulled me through some dark times and brings nothing but joy and inspiration with each new album. Rogue’s lyrics evoke a kind of visceral response that I can’t fully explain. Raw, poetic, compelling, and sometimes conversational — I feel like I’m learning something or being given good advice when I listen hard and try to unpack the songs’ various meanings.\u003c/p>\n\u003cp>I knew Rogue Wave’s drummer Pat Spurgeon suffered from a kidney problem and that the band and their friends had rallied to support him. But what I didn’t know about the band could fill a stadium, so I was the first in line for tickets to see \u003cb>D Tour\u003c/b>, a new indie film detailing their story. Spurgeon’s health issue was life threatening, but his undying passion for music didn’t let it stop him, and he went on tour with the band like he’d always dreamed of doing.\u003c/p>\n\u003cp>Spurgeon’s long-time friend Jim Granato is a filmmaker for SFMOMA, and the two of them decided to work on an independent project about Spurgeon’s experience touring while self-administering daily dialysis treatments, which require completely sanitary environments not often found on the road. Initially Granato thought of the documentary as a concert film. It is peppered with rare live performance footage of Rogue Wave along with Nada Surf, John Vanderslice, the Moore Brothers, and Ben Gibbard of Death Cab for Cutie. But the project unexpectedly and tragically became much more than a concert film. It is a story about heroism and love, the beauty and tragedy of life, and people taking huge risks for friendship and for art. As Daniel Handler said to the crowd at a fundraising concert at The Independent in 2006, “Rock ‘n roll and friendship are gonna’ save the day.”\u003c/p>\n\u003cp>Documentaries are much more emotionally risky than fictional films. When you cry during a documentary, it’s about something real. And, boy, did this film make me cry. In my peripheral vision, I noticed couples holding each other closer in the seats around me. Tissues were dug out of purses amid sounds of involuntary emotion. It was impossible not to feel a connection with the band and their friends, and Granato made sure to include some funny and endearing moments to soften the blow of what has been a difficult journey for the band. After the screening at SFMOMA, a much healthier Pat Spurgeon joined Rogue Wave to play an intimate acoustic set in the museum’s Schwab room including the debut of a new song. The most civilized rock show I’ve ever attended, it was the perfect venue to see my favorite band live for the first time.\u003c/p>\n\u003cp>If nothing else, Rogue Wave’s story will make you think more deeply about that little sticker on your driver’s license that dictates whether you’ll save others’ lives if you lose yours. If you don’t have that sticker, please get it today. We will all be here for only a short time, and we all know that life is really about how you live it, and the people you live it for. I would be remiss if I didn’t express my gratitude to Jim Granato for making the film, which has already won several awards, and to SFMOMA for putting on such a heartfelt event that surely meant a lot to the rest of the audience, many of whom were close friends or fans of the film’s remarkable stars. Thank you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A special screening of D Tour is scheduled for September 15th, 2009 at 5:45pm at the San Francisco Main Library and the film will air on PBS stations nationwide this fall as part of the \u003cb>Independent Lens\u003c/b> series. Be sure to catch the KQED broadcast on November 10, 2009 at 11pm.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rogue Wave was my favorite band long before I knew front man Zach Rogue was from Oakland, or that the rest of the band was from the same Midwest town where I spent much of my youth. Their music has pulled me through some dark times and brings nothing but joy and inspiration with each new album. Rogue’s lyrics evoke a kind of visceral response that I can’t fully explain. Raw, poetic, compelling, and sometimes conversational — I feel like I’m learning something or being given good advice when I listen hard and try to unpack the songs’ various meanings.\u003c/p>\n\u003cp>I knew Rogue Wave’s drummer Pat Spurgeon suffered from a kidney problem and that the band and their friends had rallied to support him. But what I didn’t know about the band could fill a stadium, so I was the first in line for tickets to see \u003cb>D Tour\u003c/b>, a new indie film detailing their story. Spurgeon’s health issue was life threatening, but his undying passion for music didn’t let it stop him, and he went on tour with the band like he’d always dreamed of doing.\u003c/p>\n\u003cp>Spurgeon’s long-time friend Jim Granato is a filmmaker for SFMOMA, and the two of them decided to work on an independent project about Spurgeon’s experience touring while self-administering daily dialysis treatments, which require completely sanitary environments not often found on the road. Initially Granato thought of the documentary as a concert film. It is peppered with rare live performance footage of Rogue Wave along with Nada Surf, John Vanderslice, the Moore Brothers, and Ben Gibbard of Death Cab for Cutie. But the project unexpectedly and tragically became much more than a concert film. It is a story about heroism and love, the beauty and tragedy of life, and people taking huge risks for friendship and for art. As Daniel Handler said to the crowd at a fundraising concert at The Independent in 2006, “Rock ‘n roll and friendship are gonna’ save the day.”\u003c/p>\n\u003cp>Documentaries are much more emotionally risky than fictional films. When you cry during a documentary, it’s about something real. And, boy, did this film make me cry. In my peripheral vision, I noticed couples holding each other closer in the seats around me. Tissues were dug out of purses amid sounds of involuntary emotion. It was impossible not to feel a connection with the band and their friends, and Granato made sure to include some funny and endearing moments to soften the blow of what has been a difficult journey for the band. After the screening at SFMOMA, a much healthier Pat Spurgeon joined Rogue Wave to play an intimate acoustic set in the museum’s Schwab room including the debut of a new song. The most civilized rock show I’ve ever attended, it was the perfect venue to see my favorite band live for the first time.\u003c/p>\n\u003cp>If nothing else, Rogue Wave’s story will make you think more deeply about that little sticker on your driver’s license that dictates whether you’ll save others’ lives if you lose yours. If you don’t have that sticker, please get it today. We will all be here for only a short time, and we all know that life is really about how you live it, and the people you live it for. I would be remiss if I didn’t express my gratitude to Jim Granato for making the film, which has already won several awards, and to SFMOMA for putting on such a heartfelt event that surely meant a lot to the rest of the audience, many of whom were close friends or fans of the film’s remarkable stars. Thank you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Some things are just better outdoors. Food, for one: why else would so many otherwise sane people choose to endure traffic fumes and jostling pedestrians while dining at sidewalk tables outside restaurants? Alcohol also gains something special from alfresco consumption (although it seems that our \u003ca href=\"http://missionmission.wordpress.com/2009/08/20/dolores-park-is-dead/\">local abstinence authorities\u003c/a> would prefer that we kept our beer drinking hidden away indoors). Even culture benefits from a little extra space now and then, as pale, sun-deprived performers of all kinds are dragged blinking and confused to play at outdoor festivals across the land. But in our age of 3D movie megaplexes and surround-sound high-definition nuclear-powered plasma screens at home, are we in danger of forgetting the simple joys of seeing a movie beneath a blanket of stars?\u003c/p>\n\u003cp>Thankfully, help is at hand and fresh-air filmgoing seems to be undergoing a mini revival in San Francisco. Two annual programs (\u003ca href=\"http://www.doloresparkmovie.org/\">Dolores Park Movie Night\u003c/a> and \u003ca href=\"http://www.sfneighborhoodtheater.org/events09.htm\">Film Night in the Park\u003c/a>) have already blazed a trail, and now these established screeners are being joined by an unlikely new champion of non-movie-theater big-screen movies: the \u003ca href=\"http://www.sfbike.org/\">San Francisco Bicycle Coalition\u003c/a>. Not content with harrassing city officials into building a labyrinth of bike lanes around town that will eventually form a picture of \u003ca href=\"http://en.wikipedia.org/wiki/Greg_LeMond\">Greg LeMond\u003c/a>‘s face visible only from space, the SFBC has also been busy organizing a series of free Bike-in Movie Nights in a SOMA hotel parking lot.\u003c/p>\n\u003cp>Sure, the pedal pushers’ most recent cinematic offerings — cult BMX movie \u003ca href=\"http://us.imdb.com/title/tt0091817/\">\u003cb>Rad\u003c/b>\u003c/a> and mountainbike documentary \u003ca href=\"http://us.imdb.com/title/tt0907856/\">\u003cb>Klunkerz\u003c/b>\u003c/a> — were always going to have limited appeal outside the organization’s membership of enthusiasts, but the next screening promises to change that. Animated French flick \u003ca href=\"http://www.lestriplettesdebelleville.com/\">\u003cb>Les Triplettes de Belleville\u003c/b>\u003c/a> isn’t just a great cycling movie, but very likely the greatest cycling movie of all time (even if \u003ca href=\"http://i42.photobucket.com/albums/e328/hindu_ninja/american_flyers_1985_685x385.jpg\">Kevin Costner’s mustache\u003c/a> and \u003ca href=\"http://www.horrorphile.net/images/bmx-bandits-nicole-kidman1.jpg\">Nicole Kidman’s perm\u003c/a> may disagree). It depicts all the excitement and intrigue of the legendary Tour de France through a hallucinatory mixture of exaggerated perspective, mafia kidnappings, and old-timey song-and-dance numbers.\u003c/p>\n\u003cp>It’s also a wonderful movie for an outdoor screening. Some may worry about struggling to watch a foreign language film being projected onto the side of a building (after all, those subtitles aren’t easy to read at the best of times), but handily \u003cb>Belleville\u003c/b> has virtually no dialogue. The narrative is driven by rich, flowing visuals and music; in fact, with its retro style and washed-out color palate, it’s not hard to imagine it as an old-fashioned silent movie. Lengthy Tarantino-esque monologues aside, however, it is a movie that has everything: good guys, bad guys, French guys, heroic grannies, and even a sleuthing pooch called Bruno.\u003c/p>\n\u003cp>My only reservation about the whole event is that it is being co-hosted by a group calling itself \u003ca href=\"http://sftweed.com/20090810-tweeds-of-belleville-sept-16th/\">San Francisco Tweed\u003c/a>. Very little is known about this shady organization other than its members’ strange predilection for wearing scratchy woolens while cycling, but that alone marks them out as a bunch of depraved deviants. Hopefully the large supporting cast of street-food vendors also promising to make an appearance at the screening will help keep everyone filled up with warming outdoor food, reducing the probability of having to cuddle up to a rough-coated stranger for warmth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Les Triplettes des Belleville\u003c/b> will be shown in the parking lot across from the Good Hotel, 112 Seventh Street, San Francisco at 8pm on September 16, 2009. Admission is free, and bike parking will be provided. For more information, visit \u003ca href=\"http://www.sfbike.org/?chain\">sfbike.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some things are just better outdoors. Food, for one: why else would so many otherwise sane people choose to endure traffic fumes and jostling pedestrians while dining at sidewalk tables outside restaurants? Alcohol also gains something special from alfresco consumption (although it seems that our \u003ca href=\"http://missionmission.wordpress.com/2009/08/20/dolores-park-is-dead/\">local abstinence authorities\u003c/a> would prefer that we kept our beer drinking hidden away indoors). Even culture benefits from a little extra space now and then, as pale, sun-deprived performers of all kinds are dragged blinking and confused to play at outdoor festivals across the land. But in our age of 3D movie megaplexes and surround-sound high-definition nuclear-powered plasma screens at home, are we in danger of forgetting the simple joys of seeing a movie beneath a blanket of stars?\u003c/p>\n\u003cp>Thankfully, help is at hand and fresh-air filmgoing seems to be undergoing a mini revival in San Francisco. Two annual programs (\u003ca href=\"http://www.doloresparkmovie.org/\">Dolores Park Movie Night\u003c/a> and \u003ca href=\"http://www.sfneighborhoodtheater.org/events09.htm\">Film Night in the Park\u003c/a>) have already blazed a trail, and now these established screeners are being joined by an unlikely new champion of non-movie-theater big-screen movies: the \u003ca href=\"http://www.sfbike.org/\">San Francisco Bicycle Coalition\u003c/a>. Not content with harrassing city officials into building a labyrinth of bike lanes around town that will eventually form a picture of \u003ca href=\"http://en.wikipedia.org/wiki/Greg_LeMond\">Greg LeMond\u003c/a>‘s face visible only from space, the SFBC has also been busy organizing a series of free Bike-in Movie Nights in a SOMA hotel parking lot.\u003c/p>\n\u003cp>Sure, the pedal pushers’ most recent cinematic offerings — cult BMX movie \u003ca href=\"http://us.imdb.com/title/tt0091817/\">\u003cb>Rad\u003c/b>\u003c/a> and mountainbike documentary \u003ca href=\"http://us.imdb.com/title/tt0907856/\">\u003cb>Klunkerz\u003c/b>\u003c/a> — were always going to have limited appeal outside the organization’s membership of enthusiasts, but the next screening promises to change that. Animated French flick \u003ca href=\"http://www.lestriplettesdebelleville.com/\">\u003cb>Les Triplettes de Belleville\u003c/b>\u003c/a> isn’t just a great cycling movie, but very likely the greatest cycling movie of all time (even if \u003ca href=\"http://i42.photobucket.com/albums/e328/hindu_ninja/american_flyers_1985_685x385.jpg\">Kevin Costner’s mustache\u003c/a> and \u003ca href=\"http://www.horrorphile.net/images/bmx-bandits-nicole-kidman1.jpg\">Nicole Kidman’s perm\u003c/a> may disagree). It depicts all the excitement and intrigue of the legendary Tour de France through a hallucinatory mixture of exaggerated perspective, mafia kidnappings, and old-timey song-and-dance numbers.\u003c/p>\n\u003cp>It’s also a wonderful movie for an outdoor screening. Some may worry about struggling to watch a foreign language film being projected onto the side of a building (after all, those subtitles aren’t easy to read at the best of times), but handily \u003cb>Belleville\u003c/b> has virtually no dialogue. The narrative is driven by rich, flowing visuals and music; in fact, with its retro style and washed-out color palate, it’s not hard to imagine it as an old-fashioned silent movie. Lengthy Tarantino-esque monologues aside, however, it is a movie that has everything: good guys, bad guys, French guys, heroic grannies, and even a sleuthing pooch called Bruno.\u003c/p>\n\u003cp>My only reservation about the whole event is that it is being co-hosted by a group calling itself \u003ca href=\"http://sftweed.com/20090810-tweeds-of-belleville-sept-16th/\">San Francisco Tweed\u003c/a>. Very little is known about this shady organization other than its members’ strange predilection for wearing scratchy woolens while cycling, but that alone marks them out as a bunch of depraved deviants. Hopefully the large supporting cast of street-food vendors also promising to make an appearance at the screening will help keep everyone filled up with warming outdoor food, reducing the probability of having to cuddle up to a rough-coated stranger for warmth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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