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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is The Parkway in Oakland, which closed in 2009 (and was reborn three years later in \u003ca href=\"https://www.thenewparkway.com/\">a new location\u003c/a>).\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1536x1536.jpg 1536w, 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"title": "Urban Life is a Beacon of Opportunity in Tender ‘All We Imagine as Light’",
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"headTitle": "Urban Life is a Beacon of Opportunity in Tender ‘All We Imagine as Light’ | KQED",
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"content": "\u003cp>“There are eight million stories in the Naked City,” the narrator declared at the end of the late-’50s-early ’60s New York TV police procedural (as well as the 1948 movie that inspired it). “This has been one of them.”\u003c/p>\n\u003cp>Indian filmmaker Payal Kapadia’s Cannes-awarded narrative feature debut, \u003cem>All We Imagine as Light\u003c/em>, is uninterested in crime and cops. A slow-burn journey from the prosaic to the profound, this much-needed balm for the soul follows four everyday people threading their way among Mumbai’s 21 million stories.\u003c/p>\n\u003cp>Like every big city since forever, Mumbai attracts people from all over like moths to a flame with the promise of better-paying jobs. The movies, and real life to some extent, have taught us that cities are Meccas of endless possibilities, opportunities and destinies. In the Mumbai of \u003cem>All We Imagine as Light\u003c/em> (and the cities where I’ve lived) jobs do exist but relationships are intense and generally short-lived.\u003c/p>\n\u003cp>“Some people call this the city of dreams, but I don’t,” an off-screen voice says while we watch trains traverse the sprawling nighttime landscape. “I think it’s the city of illusions.”\u003c/p>\n\u003cp>(Kapadia drops in other anonymous first-person testimonies from time to time that feel like actual interviews. Her first feature film, \u003cem>A Night of Knowing Nothing\u003c/em>, was a documentary, so it’s a reasonable assumption.)\u003c/p>\n\u003cfigure id=\"attachment_13968470\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg\" alt=\"woman in blue uniform leans back in chair at work\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three hospital staff who drive the film — strong, independent women of different generations who support themselves — have traded some of their dreams and all of their illusions for concrete reality. Ace head nurse Prabha (Kani Kusruti) has settled into a satisfying mid-career routine, but autonomy can’t conceal her loneliness — a yearning for being appreciated and valued outside the hospital.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then a chance for romance presents itself. A doctor conveys his attraction to Prabha in the most vulnerable way imaginable: He gives her a poem (that, significantly, suggests a non-native’s solitary experience of city life). “My dreams are made of everyday things, small and scattered, that I have left behind,” he writes. “My hope is just another casket of things I carry with me wherever I go / And now, you are there in a neighbor’s house like a burning lamp whose glow I watch to keep me warm at night.”\u003c/p>\n\u003cp>Prabha shares her apartment with a spirited young nurse, Anu (an exceptional Divya Prabha), whose determination to live her life on her terms is exhilarating. Anu is agog when a mysterious package arrives, containing a German-made rice cooker, and we learn that Prabha is married, and her husband has worked and lived abroad for many years.\u003c/p>\n\u003cp>Anu can’t imagine acceding to a marriage arranged by her father, as Prabha did. No surprise since her boyfriend is Muslim, which would not sit well with her traditional Hindu family “back home.” The film’s youngest characters are the most acclimated to their adopted city; the scenes of Shiaz and Anu sharing meals at outdoor food stands and making out on park benches vibrate with excitement.\u003c/p>\n\u003cfigure id=\"attachment_13968475\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg\" alt=\"man and woman hold on to supports above their heads in crowded train \" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We ponder their future together when even long-term residents can be upended by unforeseen circumstances. The older hospital cook Parvaty (Chhaya Kadam) is suddenly threatened with eviction after two decades in her apartment. Prabha finds her a lawyer, but he can’t help unless Parvaty locates some long-forgotten document.\u003c/p>\n\u003cp>The social commentary in \u003cem>All We Imagine as Light\u003c/em>, such as it is, illuminates the characters and provides texture, color and depth. It never feels as if Kapadia has hobbyhorses to ride, such as modernity over tradition, or the profiteering of developers, or family planning as the responsibility of women (the upshot of a hospital interaction between Anu and a young mother).\u003c/p>\n\u003cp>Kapadia, like the late, great Indian filmmaker Satyajit Ray, immerses us with uncommon empathy in the rhythms and struggles of everyday life. Implicit in both directors’ films is the individual’s responsibility to adjust (though not necessarily conform) to and contribute to the fabric of society.\u003c/p>\n\u003cp>Yet despite winning the Grand Prize at Cannes, \u003cem>All We Imagine as Light\u003c/em> was not chosen as India’s official submission for the Academy Award for Best International Film. The Film Federation of India selected \u003cem>Laapataa Ladies\u003c/em>, a charming, smart but more narratively and visually conventional film that’s streaming on Netflix. The FFI decision ignited a \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/india-all-we-imagine-as-light-laapataa-ladies-oscars-controversy-explained-1236011778/\">controversy\u003c/a> that provoked its president to say about \u003cem>All We Imagine as Light\u003c/em>, “The jury said that they were watching a European film taking place in India, not an Indian film taking place in India.”\u003c/p>\n\u003cfigure id=\"attachment_13968471\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg\" alt=\"woman with headscarf and sunglasses holds onto post with flags\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grant that the soundtrack by Topshe lends the film a Western indie vibe. But the film also has a lovely dance duet to an Indian pop song that reminds us Bollywood is not far away. In any event, the FFI statement offers a singularly confining view of Indian cinema. At the same time, it’s a terrific endorsement for American fans of arthouse films.\u003c/p>\n\u003cp>Midway through the intoxicating \u003cem>All We Imagine as Light\u003c/em>, Prabha and Anu accompany Parvaty to her coastal village in Ratnagiri. Unbeknownst to them, quiet revelations await. Don’t worry, the movie doesn’t turn into a simplistic reverie about how the countryside is better — more down to earth, more authentic — than the city.\u003c/p>\n\u003cp>But the tone does shift, from neorealism to magical near-realism. The fluid, frenetic movement of the city (exemplified by those ubiquitous trains) and the glare of nighttime lights evaporate in the rural setting. Unexpected possibilities emerge, if the characters will embrace them.\u003c/p>\n\u003cp>After Prabha reveals the existence of her absent husband, someone says, “When people go abroad, they can lose their minds, or their memory. That’s how it is.” It can also happen when someone migrates to a city. Or from one city to another. Or, for that matter, when they move home.\u003c/p>\n\u003cp>As a lifelong city dweller, I experienced \u003cem>All We Imagine as Light\u003c/em> as a generous gift. Share it widely.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘All We Imagine as Light’ plays \u003ca href=\"https://roxie.com/film/all-we-imagine-as-light/\">Jan. 7–21 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are eight million stories in the Naked City,” the narrator declared at the end of the late-’50s-early ’60s New York TV police procedural (as well as the 1948 movie that inspired it). “This has been one of them.”\u003c/p>\n\u003cp>Indian filmmaker Payal Kapadia’s Cannes-awarded narrative feature debut, \u003cem>All We Imagine as Light\u003c/em>, is uninterested in crime and cops. A slow-burn journey from the prosaic to the profound, this much-needed balm for the soul follows four everyday people threading their way among Mumbai’s 21 million stories.\u003c/p>\n\u003cp>Like every big city since forever, Mumbai attracts people from all over like moths to a flame with the promise of better-paying jobs. The movies, and real life to some extent, have taught us that cities are Meccas of endless possibilities, opportunities and destinies. In the Mumbai of \u003cem>All We Imagine as Light\u003c/em> (and the cities where I’ve lived) jobs do exist but relationships are intense and generally short-lived.\u003c/p>\n\u003cp>“Some people call this the city of dreams, but I don’t,” an off-screen voice says while we watch trains traverse the sprawling nighttime landscape. “I think it’s the city of illusions.”\u003c/p>\n\u003cp>(Kapadia drops in other anonymous first-person testimonies from time to time that feel like actual interviews. Her first feature film, \u003cem>A Night of Knowing Nothing\u003c/em>, was a documentary, so it’s a reasonable assumption.)\u003c/p>\n\u003cfigure id=\"attachment_13968470\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg\" alt=\"woman in blue uniform leans back in chair at work\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three hospital staff who drive the film — strong, independent women of different generations who support themselves — have traded some of their dreams and all of their illusions for concrete reality. Ace head nurse Prabha (Kani Kusruti) has settled into a satisfying mid-career routine, but autonomy can’t conceal her loneliness — a yearning for being appreciated and valued outside the hospital.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then a chance for romance presents itself. A doctor conveys his attraction to Prabha in the most vulnerable way imaginable: He gives her a poem (that, significantly, suggests a non-native’s solitary experience of city life). “My dreams are made of everyday things, small and scattered, that I have left behind,” he writes. “My hope is just another casket of things I carry with me wherever I go / And now, you are there in a neighbor’s house like a burning lamp whose glow I watch to keep me warm at night.”\u003c/p>\n\u003cp>Prabha shares her apartment with a spirited young nurse, Anu (an exceptional Divya Prabha), whose determination to live her life on her terms is exhilarating. Anu is agog when a mysterious package arrives, containing a German-made rice cooker, and we learn that Prabha is married, and her husband has worked and lived abroad for many years.\u003c/p>\n\u003cp>Anu can’t imagine acceding to a marriage arranged by her father, as Prabha did. No surprise since her boyfriend is Muslim, which would not sit well with her traditional Hindu family “back home.” The film’s youngest characters are the most acclimated to their adopted city; the scenes of Shiaz and Anu sharing meals at outdoor food stands and making out on park benches vibrate with excitement.\u003c/p>\n\u003cfigure id=\"attachment_13968475\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg\" alt=\"man and woman hold on to supports above their heads in crowded train \" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We ponder their future together when even long-term residents can be upended by unforeseen circumstances. The older hospital cook Parvaty (Chhaya Kadam) is suddenly threatened with eviction after two decades in her apartment. Prabha finds her a lawyer, but he can’t help unless Parvaty locates some long-forgotten document.\u003c/p>\n\u003cp>The social commentary in \u003cem>All We Imagine as Light\u003c/em>, such as it is, illuminates the characters and provides texture, color and depth. It never feels as if Kapadia has hobbyhorses to ride, such as modernity over tradition, or the profiteering of developers, or family planning as the responsibility of women (the upshot of a hospital interaction between Anu and a young mother).\u003c/p>\n\u003cp>Kapadia, like the late, great Indian filmmaker Satyajit Ray, immerses us with uncommon empathy in the rhythms and struggles of everyday life. Implicit in both directors’ films is the individual’s responsibility to adjust (though not necessarily conform) to and contribute to the fabric of society.\u003c/p>\n\u003cp>Yet despite winning the Grand Prize at Cannes, \u003cem>All We Imagine as Light\u003c/em> was not chosen as India’s official submission for the Academy Award for Best International Film. The Film Federation of India selected \u003cem>Laapataa Ladies\u003c/em>, a charming, smart but more narratively and visually conventional film that’s streaming on Netflix. The FFI decision ignited a \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/india-all-we-imagine-as-light-laapataa-ladies-oscars-controversy-explained-1236011778/\">controversy\u003c/a> that provoked its president to say about \u003cem>All We Imagine as Light\u003c/em>, “The jury said that they were watching a European film taking place in India, not an Indian film taking place in India.”\u003c/p>\n\u003cfigure id=\"attachment_13968471\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg\" alt=\"woman with headscarf and sunglasses holds onto post with flags\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grant that the soundtrack by Topshe lends the film a Western indie vibe. But the film also has a lovely dance duet to an Indian pop song that reminds us Bollywood is not far away. In any event, the FFI statement offers a singularly confining view of Indian cinema. At the same time, it’s a terrific endorsement for American fans of arthouse films.\u003c/p>\n\u003cp>Midway through the intoxicating \u003cem>All We Imagine as Light\u003c/em>, Prabha and Anu accompany Parvaty to her coastal village in Ratnagiri. Unbeknownst to them, quiet revelations await. Don’t worry, the movie doesn’t turn into a simplistic reverie about how the countryside is better — more down to earth, more authentic — than the city.\u003c/p>\n\u003cp>But the tone does shift, from neorealism to magical near-realism. The fluid, frenetic movement of the city (exemplified by those ubiquitous trains) and the glare of nighttime lights evaporate in the rural setting. Unexpected possibilities emerge, if the characters will embrace them.\u003c/p>\n\u003cp>After Prabha reveals the existence of her absent husband, someone says, “When people go abroad, they can lose their minds, or their memory. That’s how it is.” It can also happen when someone migrates to a city. Or from one city to another. Or, for that matter, when they move home.\u003c/p>\n\u003cp>As a lifelong city dweller, I experienced \u003cem>All We Imagine as Light\u003c/em> as a generous gift. Share it widely.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All We Imagine as Light’ plays \u003ca href=\"https://roxie.com/film/all-we-imagine-as-light/\">Jan. 7–21 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Ernest Cole: Lost and Found’ Resurrects a Once-Forgotten Anti-Apartheid Photographer",
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"content": "\u003cp>When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.\u003c/p>\n\u003cp>Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book \u003cem>House of Bondage\u003c/em>, Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in \u003cem>The New York Times\u003c/em> ran alongside a list of death notices.\u003c/p>\n\u003cp>[aside postid='arts_13967651']But Cole receives a vibrant and stirring resurrection in Raoul Peck’s new film \u003cem>Ernest Cole: Lost and Found\u003c/em>, narrated in Cole’s own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole’s photographs, many of them not before seen publicly.\u003c/p>\n\u003cp>As he did in his Oscar-nominated James Baldwin documentary \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, the Haitian-born Peck shares screenwriting credit with his subject. \u003cem>Ernest Cole: Lost and Found\u003c/em> is drawn from Cole’s own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.\u003c/p>\n\u003cp>“Film is a political tool for me,” Peck said in a recent interview over lunch in Manhattan. “My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It’s about my fight today. I don’t care about the past.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ernest Cole: Lost and Found\u003c/em> is a movie layered with meaning that goes beyond Cole’s work. It asks questions not just about the societies Cole documented but of how he was treated as an artist, drawing uncomfortable parallels between apartheid and post-Jim Crow America. In the U.S., Cole was given a Ford Foundation grant to capture Black life in rural and urban areas, but he struggled to find a foothold professionally. Some editors said his images lacked “edge.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OzS95TW6edU\u003c/p>\n\u003cp>In 2017, more than 60,000 of Cole’s 35mm film negatives were discovered in a bank vault in Stockholm, Sweden. Much of that material, including thousands of photographs Cole took in the U.S., was believed lost. Answers for how they had gotten there, and why they hadn’t been known about earlier were hard to come by. \u003cem>Lost and Found\u003c/em> portrays the struggle of Cole’s estate to acquire the collection. Only on the eve of the film’s Cannes Film Festival premiere in May did the bank finally announce the handover of most materials to the estate.\u003c/p>\n\u003cp>What those photographs reveal is an artist who made much more than indelible images of apartheid life. Cole’s early photographs, published in 1967, offered one of the most illustrative and damning portraits of apartheid to Western eyes, including a widely reproduced photograph of a middle-aged woman sitting on a park bench that read “Europeans only.” But he was an equally astute and sensitive observer of the segregations, and multicultural joys, of American life.\u003c/p>\n\u003cp>“It’s a matter of survival,” Stanfield narrates as Cole. “Steal every moment.”\u003c/p>\n\u003cp>For Peck, the themes of \u003cem>Ernest Cole: Lost and Found\u003c/em> are deeply personal. The 71-year-old filmmaker, a former minister of culture in Haiti, has spent much of his artistic life also away from his native country, in Berlin, Paris and New York. He dedicates the movie “to those who died in exile.”\u003c/p>\n\u003cp>[aside postid='arts_13966737']“When I say that, that’s most of my friends,” he says. “I recognize all the steps. When you take a contact sheet, I see myself.”\u003c/p>\n\u003cp>For some four decades, Peck has made some of the most urgent films, in both fiction (including 2000’s \u003cem>Lumumba\u003c/em>, about the exiled Congo leader) and non-fiction (including last year’s \u003cem>Silver Dollar Road\u003c/em>). But he has rarely not employed both narrative and documentary elements in films that take their own shape — movies less interested in genre distinctions than they are pursuing unexamined truths.\u003c/p>\n\u003cp>That’s made Peck an increasingly exceptional figure in a documentary world that’s become more and more dominated by glossier, less probing films for streaming platforms.\u003c/p>\n\u003cp>“It’s gotten worse. There’s less money so young people are desperate and accept stuff that my generation would never accept,” Peck says. “The whole industry has changed. I knew another world, and I recognize it’s not that anymore.”\u003c/p>\n\u003cp>Peck is currently editing a documentary on George Orwell. Like \u003cem>Ernest Cole: Lost and Found\u003c/em>, it will be told totally in Orwell’s words. A few days after the U.S. election, Peck was working to update a moment in the film that touches on President-elect Donald Trump. Peck has been astonished at how prescient Orwell was on so many current issues — misinformation, AI, social media, the refugee crisis.\u003c/p>\n\u003cp>“He was a really incredible critic of history and how history is even told,” says Peck. “Before plunging into it, I did not realize how sharp he was about what’s going on today.”\u003c/p>\n\u003cp>“To me,” he adds, “a film has value if it’s talking to us today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ernest Cole: Lost and Found’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.\u003c/p>\n\u003cp>Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book \u003cem>House of Bondage\u003c/em>, Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in \u003cem>The New York Times\u003c/em> ran alongside a list of death notices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Cole receives a vibrant and stirring resurrection in Raoul Peck’s new film \u003cem>Ernest Cole: Lost and Found\u003c/em>, narrated in Cole’s own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole’s photographs, many of them not before seen publicly.\u003c/p>\n\u003cp>As he did in his Oscar-nominated James Baldwin documentary \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, the Haitian-born Peck shares screenwriting credit with his subject. \u003cem>Ernest Cole: Lost and Found\u003c/em> is drawn from Cole’s own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.\u003c/p>\n\u003cp>“Film is a political tool for me,” Peck said in a recent interview over lunch in Manhattan. “My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It’s about my fight today. I don’t care about the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ernest Cole: Lost and Found\u003c/em> is a movie layered with meaning that goes beyond Cole’s work. It asks questions not just about the societies Cole documented but of how he was treated as an artist, drawing uncomfortable parallels between apartheid and post-Jim Crow America. In the U.S., Cole was given a Ford Foundation grant to capture Black life in rural and urban areas, but he struggled to find a foothold professionally. Some editors said his images lacked “edge.”\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/OzS95TW6edU'\n title='//www.youtube.com/embed/OzS95TW6edU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, more than 60,000 of Cole’s 35mm film negatives were discovered in a bank vault in Stockholm, Sweden. Much of that material, including thousands of photographs Cole took in the U.S., was believed lost. Answers for how they had gotten there, and why they hadn’t been known about earlier were hard to come by. \u003cem>Lost and Found\u003c/em> portrays the struggle of Cole’s estate to acquire the collection. Only on the eve of the film’s Cannes Film Festival premiere in May did the bank finally announce the handover of most materials to the estate.\u003c/p>\n\u003cp>What those photographs reveal is an artist who made much more than indelible images of apartheid life. Cole’s early photographs, published in 1967, offered one of the most illustrative and damning portraits of apartheid to Western eyes, including a widely reproduced photograph of a middle-aged woman sitting on a park bench that read “Europeans only.” But he was an equally astute and sensitive observer of the segregations, and multicultural joys, of American life.\u003c/p>\n\u003cp>“It’s a matter of survival,” Stanfield narrates as Cole. “Steal every moment.”\u003c/p>\n\u003cp>For Peck, the themes of \u003cem>Ernest Cole: Lost and Found\u003c/em> are deeply personal. The 71-year-old filmmaker, a former minister of culture in Haiti, has spent much of his artistic life also away from his native country, in Berlin, Paris and New York. He dedicates the movie “to those who died in exile.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I say that, that’s most of my friends,” he says. “I recognize all the steps. When you take a contact sheet, I see myself.”\u003c/p>\n\u003cp>For some four decades, Peck has made some of the most urgent films, in both fiction (including 2000’s \u003cem>Lumumba\u003c/em>, about the exiled Congo leader) and non-fiction (including last year’s \u003cem>Silver Dollar Road\u003c/em>). But he has rarely not employed both narrative and documentary elements in films that take their own shape — movies less interested in genre distinctions than they are pursuing unexamined truths.\u003c/p>\n\u003cp>That’s made Peck an increasingly exceptional figure in a documentary world that’s become more and more dominated by glossier, less probing films for streaming platforms.\u003c/p>\n\u003cp>“It’s gotten worse. There’s less money so young people are desperate and accept stuff that my generation would never accept,” Peck says. “The whole industry has changed. I knew another world, and I recognize it’s not that anymore.”\u003c/p>\n\u003cp>Peck is currently editing a documentary on George Orwell. Like \u003cem>Ernest Cole: Lost and Found\u003c/em>, it will be told totally in Orwell’s words. A few days after the U.S. election, Peck was working to update a moment in the film that touches on President-elect Donald Trump. Peck has been astonished at how prescient Orwell was on so many current issues — misinformation, AI, social media, the refugee crisis.\u003c/p>\n\u003cp>“He was a really incredible critic of history and how history is even told,” says Peck. “Before plunging into it, I did not realize how sharp he was about what’s going on today.”\u003c/p>\n\u003cp>“To me,” he adds, “a film has value if it’s talking to us today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ernest Cole: Lost and Found’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. 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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_8-800x800.jpg 800w, 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"slug": "zendaya-look-alike-contest-oakland-winner",
"title": "A Zendaya Look-Alike Contest in Oakland Crowns its Winner",
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"content": "\u003cp>Seven contestants stood with their backs to the crowd of onlookers on a chilly, gray afternoon, anxiously awaiting the results of the Zendaya \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">look-alike contest\u003c/a> at Wilma Chan Park in Oakland, the actress’ hometown.\u003c/p>\n\u003cp>Event organizer Cassi Simms slowly walked down the line of potential winners on Wednesday, anticipation building as they passed each hopeful.\u003c/p>\n\u003cp>Just as the rain started up again, Simms reached Zainab Bansfield from San Francisco and tapped her on the shoulder. The crowd of around 60 onlookers erupted in cheers as Bansfield was crowned “Miss Zendaya” with a sash and prize basket.\u003c/p>\n\u003cp>[aside postID='arts_13968233']She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix’s ‘Joy’ Is a Loud Cheer for Fertility, for Never Giving Up — and Science",
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"content": "\u003cp>Toward the end of Netflix’s \u003cem>Joy\u003c/em>, the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren’t the parents, but they had as much to do with the birth as the mom and dad.\u003c/p>\n\u003cp>This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It’s an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.\u003c/p>\n\u003cp>[aside postid='arts_13968348']The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qoyn5BCm37o\u003c/p>\n\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>[aside postid='arts_13968285']Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\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/Qoyn5BCm37o'\n title='//www.youtube.com/embed/Qoyn5BCm37o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-800x800.jpg 800w, 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"title": "Remembering the Pussycat Movie Theater in Oakland | KQED",
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"headline": "‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8.jpg 2000w, 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"slug": "wicked-defies-gravity-if-not-time",
"title": "‘Wicked’ Defies Gravity, if Not Time",
"publishDate": 1732049641,
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"headTitle": "‘Wicked’ Defies Gravity, if Not Time | KQED",
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"content": "\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>[aside postid='pop_84656']Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>[aside postid='arts_13968135']The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>[aside postid='arts_13968236']Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\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/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: United Artists in Berkeley",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full 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"excerpt": "Briana Loewinsohn illustrates her first moviegoing experience: seeing ‘Purple Rain’ at the UA, now closed.",
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"content": "\u003cp>San Francisco has a long, proud history of hosting park-based lookalike contests focused on unconventionally sexy men. (Hello?! The city has been home to the annual \u003ca href=\"https://www.kqed.org/science/1992138/san-franciscos-hunky-jesus-contest-to-happen-rain-or-shine\">Hunky Jesus contest\u003c/a> since the mid-’90s!) In recent months, though, the trend has gone national, with a series of anarchic, unofficial gatherings to reward young men who closely resemble other famous (and usually \u003ca href=\"https://www.nytimes.com/2024/06/08/style/who-is-a-rodent-man.html\">ratty-faced\u003c/a>) men.\u003c/p>\n\u003cp>In October, a 21-year-old man in full Willy Wonka garb snagged the grand prize of $50 (and an unfeasibly large trophy) at New York’s glorious Timothée Chalamet lookalike competition.\u003c/p>\n\u003cfigure id=\"attachment_13968234\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968234 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg\" alt=\"A young man holds up a 4ft tropny in a park while dressed like Willy Wonka.\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1025x1536.jpg 1025w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Miles Mitchell, proud winner of the Timothée Chalamet lookalike contest in New York on Oct 27, 2024. \u003ccite>(Jeenah Moon for The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The afternoon was awash with damp hairstyles, pointy cheekbones, creepy mustaches and thirsty, thirsty young ladies looking to land themselves their very own almost-Chalamet. But the most beautiful thing about this very unofficial contest was the sheer, surreal chaos of it all.\u003c/p>\n\u003cp>The contest was masterminded by YouTuber Anthony Po, motivated by his status as a “\u003ca href=\"https://www.youtube.com/watch?v=W0L9qs8rzfM\">less hot Timothée Chalamet\u003c/a>.” Po only put up 100 flyers around New York City, and was fairly astonished when 10,000 people showed up — including \u003ca href=\"https://gothamist.com/arts-entertainment/timoth%C3%A9e-chalamet-surprises-fans-at-nyc-look-alike-contest-winner-crowned\">Timothée Chalamet himself\u003c/a>, who was probably just super-excited about going to a place where everyone would assume he wasn’t actually him. (When he finally announced himself, the screams were deafening.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rMOUSbn2F8A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Po got slapped with a $500 fine, everyone had a good time (except, maybe, the cops) and, well, it looked like so much fun that other cities promptly followed.\u003c/p>\n\u003cp>[aside postid='arts_13967770']“Hmm,” the entire nation seemed to ponder at once, “what slightly rodent-faced hottie should we find lookalikes for in \u003cem>my\u003c/em> town?”\u003c/p>\n\u003cp>The answer for San Francisco was Dev Patel. And so, on Nov. 10, Dolores Park was suddenly inundated with scruff-faced South Asian babes and the (many, many) ladies that love them. A 25-year-old from San Jose named Jaipreet Hundal won, even though, close up, Hundal probably looks more like Adrien Brody than Dev Patel. But who cares?! This was about free, (semi-)wholesome fun in the sun, in the middle of a roiling crapfest of a year.\u003c/p>\n\u003cp>https://twitter.com/therealezrawr/status/1855748004084584525\u003c/p>\n\u003cp>(Still. Someone should do an Adrien Brody lookalike contest somewhere in the Bay soon, so Hundal can go two-for-two.)\u003c/p>\n\u003cp>Then, over the weekend in Chicago, it happened again. The home of \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> decided that it was only right and natural that their lookalike contest should center around Jeremy Allen White. For a few hours, Humboldt Park was a sea of white T-shirts, blue aprons and flagrant cigarette smoking à la Carmen “Carmy” Berzatto.\u003c/p>\n\u003cp>https://twitter.com/FilmUpdates/status/1857928696826573234\u003c/p>\n\u003cp>Finally, one meaty-armed, wonky-faced beefcake emerged triumphant: Ben Shabad, 37, a mental health therapist.\u003c/p>\n\u003cp>Here he is, true to form, making the entire internet feel better.\u003c/p>\n\u003cp>https://twitter.com/FilmUpdates/status/1858232517868113972\u003c/p>\n\u003cp>Lookalike contests have also popped up overseas. Londoners held a Harry Styles contest in which the majority of participants seemed to be struggling with \u003ca href=\"https://x.com/PopCrave/status/1855238017331429446\">acute cases of wishful thinking\u003c/a>. (Coincidentally, that could also be said of the contestants at the \u003ca href=\"https://twitter.com/allurequinn/status/1858253882234986710\">Zayn Malik lookalike contest\u003c/a> in Brooklyn on Sunday. Handsome fellas one and all, but literally none of them looked like Malik.)\u003c/p>\n\u003cp>Plus, Dubliners held a Paul Mescal contest in Ireland. (Paul Mescal is the fella from \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13923009/from-fresh-air-the-10-best-movies-of-2022-paired-off-plus-a-single-no-1\">\u003cem>Aftersun\u003c/em>\u003c/a>. Any day now, Americans will start remembering what he looks like.)\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1854548275799511254\u003c/p>\n\u003cp>Oakland University communications professor Erin Meyers \u003ca href=\"https://www.npr.org/2024/11/18/nx-s1-5195097/lookalike-contests-timothee-chalamet-paul-mescal-harry-styles\">theorized to NPR\u003c/a> that lookalike contests appeal to the public on multiple levels. First and foremost, she explained, they present a rare opportunity for young humans to come together in a public space for something other than collective dissent.\u003c/p>\n\u003cp>“They’re not a protest. They’re not an election rally,” she said. “They’re not things that have been kind of contentious lately. They’re around something that’s a little more fun and they’re very grassroots.”\u003c/p>\n\u003cp>[aside postid='arts_13968221']Meyers also noted that, while women have long felt pressure to keep up with celebrity beauty standards, the concept is reasonably novel for men. Still, Meyers thinks our collective obsession with these lookalike contests will be short-lived.\u003c/p>\n\u003cp>“The internet is a fickle place and what’s fun and exciting for people today will be forgotten in a few months,” she told NPR. “And maybe they’ll run out of celebrities, I don’t know … Well, we’ll never run out of celebrities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly. We owe it to each other as a society to keep these ridiculous competitions going for as long as we possibly can. The end of 2024 has been a much sunnier and sillier time because of them. And thank all of the beautiful ratty-faced men for that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has a long, proud history of hosting park-based lookalike contests focused on unconventionally sexy men. (Hello?! The city has been home to the annual \u003ca href=\"https://www.kqed.org/science/1992138/san-franciscos-hunky-jesus-contest-to-happen-rain-or-shine\">Hunky Jesus contest\u003c/a> since the mid-’90s!) In recent months, though, the trend has gone national, with a series of anarchic, unofficial gatherings to reward young men who closely resemble other famous (and usually \u003ca href=\"https://www.nytimes.com/2024/06/08/style/who-is-a-rodent-man.html\">ratty-faced\u003c/a>) men.\u003c/p>\n\u003cp>In October, a 21-year-old man in full Willy Wonka garb snagged the grand prize of $50 (and an unfeasibly large trophy) at New York’s glorious Timothée Chalamet lookalike competition.\u003c/p>\n\u003cfigure id=\"attachment_13968234\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968234 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg\" alt=\"A young man holds up a 4ft tropny in a park while dressed like Willy Wonka.\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1025x1536.jpg 1025w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Miles Mitchell, proud winner of the Timothée Chalamet lookalike contest in New York on Oct 27, 2024. \u003ccite>(Jeenah Moon for The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The afternoon was awash with damp hairstyles, pointy cheekbones, creepy mustaches and thirsty, thirsty young ladies looking to land themselves their very own almost-Chalamet. But the most beautiful thing about this very unofficial contest was the sheer, surreal chaos of it all.\u003c/p>\n\u003cp>The contest was masterminded by YouTuber Anthony Po, motivated by his status as a “\u003ca href=\"https://www.youtube.com/watch?v=W0L9qs8rzfM\">less hot Timothée Chalamet\u003c/a>.” Po only put up 100 flyers around New York City, and was fairly astonished when 10,000 people showed up — including \u003ca href=\"https://gothamist.com/arts-entertainment/timoth%C3%A9e-chalamet-surprises-fans-at-nyc-look-alike-contest-winner-crowned\">Timothée Chalamet himself\u003c/a>, who was probably just super-excited about going to a place where everyone would assume he wasn’t actually him. (When he finally announced himself, the screams were deafening.)\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/rMOUSbn2F8A'\n title='//www.youtube.com/embed/rMOUSbn2F8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Hmm,” the entire nation seemed to ponder at once, “what slightly rodent-faced hottie should we find lookalikes for in \u003cem>my\u003c/em> town?”\u003c/p>\n\u003cp>The answer for San Francisco was Dev Patel. And so, on Nov. 10, Dolores Park was suddenly inundated with scruff-faced South Asian babes and the (many, many) ladies that love them. A 25-year-old from San Jose named Jaipreet Hundal won, even though, close up, Hundal probably looks more like Adrien Brody than Dev Patel. But who cares?! This was about free, (semi-)wholesome fun in the sun, in the middle of a roiling crapfest of a year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Still. Someone should do an Adrien Brody lookalike contest somewhere in the Bay soon, so Hundal can go two-for-two.)\u003c/p>\n\u003cp>Then, over the weekend in Chicago, it happened again. The home of \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> decided that it was only right and natural that their lookalike contest should center around Jeremy Allen White. For a few hours, Humboldt Park was a sea of white T-shirts, blue aprons and flagrant cigarette smoking à la Carmen “Carmy” Berzatto.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Finally, one meaty-armed, wonky-faced beefcake emerged triumphant: Ben Shabad, 37, a mental health therapist.\u003c/p>\n\u003cp>Here he is, true to form, making the entire internet feel better.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lookalike contests have also popped up overseas. Londoners held a Harry Styles contest in which the majority of participants seemed to be struggling with \u003ca href=\"https://x.com/PopCrave/status/1855238017331429446\">acute cases of wishful thinking\u003c/a>. (Coincidentally, that could also be said of the contestants at the \u003ca href=\"https://twitter.com/allurequinn/status/1858253882234986710\">Zayn Malik lookalike contest\u003c/a> in Brooklyn on Sunday. Handsome fellas one and all, but literally none of them looked like Malik.)\u003c/p>\n\u003cp>Plus, Dubliners held a Paul Mescal contest in Ireland. (Paul Mescal is the fella from \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13923009/from-fresh-air-the-10-best-movies-of-2022-paired-off-plus-a-single-no-1\">\u003cem>Aftersun\u003c/em>\u003c/a>. Any day now, Americans will start remembering what he looks like.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Oakland University communications professor Erin Meyers \u003ca href=\"https://www.npr.org/2024/11/18/nx-s1-5195097/lookalike-contests-timothee-chalamet-paul-mescal-harry-styles\">theorized to NPR\u003c/a> that lookalike contests appeal to the public on multiple levels. First and foremost, she explained, they present a rare opportunity for young humans to come together in a public space for something other than collective dissent.\u003c/p>\n\u003cp>“They’re not a protest. They’re not an election rally,” she said. “They’re not things that have been kind of contentious lately. They’re around something that’s a little more fun and they’re very grassroots.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meyers also noted that, while women have long felt pressure to keep up with celebrity beauty standards, the concept is reasonably novel for men. Still, Meyers thinks our collective obsession with these lookalike contests will be short-lived.\u003c/p>\n\u003cp>“The internet is a fickle place and what’s fun and exciting for people today will be forgotten in a few months,” she told NPR. “And maybe they’ll run out of celebrities, I don’t know … Well, we’ll never run out of celebrities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly. We owe it to each other as a society to keep these ridiculous competitions going for as long as we possibly can. The end of 2024 has been a much sunnier and sillier time because of them. And thank all of the beautiful ratty-faced men for that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "closed-movie-theaters-california-theater-berkeley",
"title": "‘Movie Theaters We Have Lost’: The California Theater in Berkeley",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the California Theater in Berkeley, which closed in 2020.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 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"title": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’",
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"content": "\u003cp>In 2022, hip-hop artist \u003ca href=\"https://www.instagram.com/versoulmusic/\">Versoul\u003c/a> temporarily stepped away from the microphone and turned on a camera to capture her grandmother’s story while her grandma was around to tell it herself.\u003c/p>\n\u003cp>Her grandmother Sachiko Higa Rosa Roverso immigrated from Peru to San Francisco in the early 1970s. A single mother of two sons, she lived humbly in her 200-square-foot Mission District apartment until she passed away at 82 years old, not long after Versoul recorded her story. Throughout her life, Grandmother Sachiko felt the impacts of imperialism, war and anti-Japanese racism. The lessons she taught her granddaughter \u003cspan style=\"font-weight: 400\">—\u003c/span> that treating people well costs nothing and has lasting positive reverberations \u003cspan style=\"font-weight: 400\">—\u003c/span> became Versoul’s lens as a filmmaker. [aside postid='arts_13950855']\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\u003c/p>\n\u003cp>https://youtu.be/C_CXrbEp9Ak?si=0QJ4ZIhXpXkIivfn\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” [aside postid='arts_13968060']\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” \u003c/p>\u003c/div>",
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"soldout": {
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