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"content": "\u003cp>With their hikes, gatherings and community service initiatives all around the Bay Area (as well as Los Angeles and New York), the East Bay nonprofit \u003ca href=\"https://www.theblackneighborhood.org/\" target=\"_blank\" rel=\"noopener\">The Black Neighborhood\u003c/a> brings people together simply by encouraging them to get outside.\u003c/p>\n\u003cp>On Sunday, Nov. 17, the group will be in southeast San Francisco leading a three-mile “mental health” hike from the Bayview Opera House to India Basin and back. Ahead of the hike attendees will watch a 30-minute documentary film all about the very neighborhood they’ll be walking through, \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">\u003cem>What Bayview Was, Is, & Can Be\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13968071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg\" alt=\"President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \u003ccite>(Andrew Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by the president and co-founder of The Black Neighborhood, \u003ca href=\"https://www.instagram.com/cory_e/\" target=\"_blank\" rel=\"noopener\">Cory Elliott\u003c/a>, the film focuses on four key interviews to explain significant aspects of the Black community in the Bayview.\u003c/p>\n\u003cp>Longtime community members Barbara Givens-Cohen, Janice Smith, Marilyn Odom and Damien “Uncle Damien” Posey share stories of the Great Migration, the impact of the crack cocaine epidemic and the effects of gentrification.\u003c/p>\n\u003cp>In the film, Marilyn Odom, who was born in San Francisco in 1956, recalls when the area was home to an ice cream shop and a bakery. “We don’t have that anymore,” Odom says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The community was a fun place until people started believing that “this corner belonged to them, this part of town belonged to them,” says Odom, referring to the division that came along with turf wars.\u003c/p>\n\u003cp>In discussing the future of the Bayview neighborhood, Odom gets choked up professing the importance of parents being present. With a tissue in her hand and tears in her eyes, she says community change is about parents sacrificing. “Give your child enough to say, ‘I love you,’ enough to say, ‘I want better for my child, I want you to get a good education,'” says Odom.\u003c/p>\n\u003cp>“Take your last dollar and buy your kids some books and help them,” Odom adds, removing her glasses to wipe her tears. “Don’t let your kids suffer.”\u003c/p>\n\u003cp>The film leaves audiences with an understanding of the Bayview’s rich history, and the urgency of the current situation many community members face. During the hike after the screening, there’ll be an opportunity to get into some substantive dialogue about the neighborhood’s future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Neighborhood’s hike and screening of the film \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">‘What Bayview Was, Is, & Can Be’\u003c/a> is Sunday, Nov. 17. The free event begins at The Bayview Opera House at 10 a.m., and is open to all ages. \u003ca href=\"https://www.eventbrite.com/e/tbn-mental-health-hike-39-easy-tickets-1076398369499?utm_experiment=test_share_listing&aff=ebdsshios&_gl=1*le3aun*_up*MQ..*_ga*NDg0NzczNDk5LjE3MzE0MzQ0MDE.*_ga_TQVES5V6SH*MTczMTQzNDQwMC4xLjAuMTczMTQzNDQwMC4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Free RSVP and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With their hikes, gatherings and community service initiatives all around the Bay Area (as well as Los Angeles and New York), the East Bay nonprofit \u003ca href=\"https://www.theblackneighborhood.org/\" target=\"_blank\" rel=\"noopener\">The Black Neighborhood\u003c/a> brings people together simply by encouraging them to get outside.\u003c/p>\n\u003cp>On Sunday, Nov. 17, the group will be in southeast San Francisco leading a three-mile “mental health” hike from the Bayview Opera House to India Basin and back. Ahead of the hike attendees will watch a 30-minute documentary film all about the very neighborhood they’ll be walking through, \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">\u003cem>What Bayview Was, Is, & Can Be\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13968071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg\" alt=\"President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \u003ccite>(Andrew Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by the president and co-founder of The Black Neighborhood, \u003ca href=\"https://www.instagram.com/cory_e/\" target=\"_blank\" rel=\"noopener\">Cory Elliott\u003c/a>, the film focuses on four key interviews to explain significant aspects of the Black community in the Bayview.\u003c/p>\n\u003cp>Longtime community members Barbara Givens-Cohen, Janice Smith, Marilyn Odom and Damien “Uncle Damien” Posey share stories of the Great Migration, the impact of the crack cocaine epidemic and the effects of gentrification.\u003c/p>\n\u003cp>In the film, Marilyn Odom, who was born in San Francisco in 1956, recalls when the area was home to an ice cream shop and a bakery. “We don’t have that anymore,” Odom says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community was a fun place until people started believing that “this corner belonged to them, this part of town belonged to them,” says Odom, referring to the division that came along with turf wars.\u003c/p>\n\u003cp>In discussing the future of the Bayview neighborhood, Odom gets choked up professing the importance of parents being present. With a tissue in her hand and tears in her eyes, she says community change is about parents sacrificing. “Give your child enough to say, ‘I love you,’ enough to say, ‘I want better for my child, I want you to get a good education,'” says Odom.\u003c/p>\n\u003cp>“Take your last dollar and buy your kids some books and help them,” Odom adds, removing her glasses to wipe her tears. “Don’t let your kids suffer.”\u003c/p>\n\u003cp>The film leaves audiences with an understanding of the Bayview’s rich history, and the urgency of the current situation many community members face. During the hike after the screening, there’ll be an opportunity to get into some substantive dialogue about the neighborhood’s future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Neighborhood’s hike and screening of the film \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">‘What Bayview Was, Is, & Can Be’\u003c/a> is Sunday, Nov. 17. The free event begins at The Bayview Opera House at 10 a.m., and is open to all ages. \u003ca href=\"https://www.eventbrite.com/e/tbn-mental-health-hike-39-easy-tickets-1076398369499?utm_experiment=test_share_listing&aff=ebdsshios&_gl=1*le3aun*_up*MQ..*_ga*NDg0NzczNDk5LjE3MzE0MzQ0MDE.*_ga_TQVES5V6SH*MTczMTQzNDQwMC4xLjAuMTczMTQzNDQwMC4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Free RSVP and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from \u003cem>Red One\u003c/em> — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?\u003c/p>\n\u003cp>Such are the ugly-sweater clashes of \u003cem>Red One\u003c/em>, a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But \u003cem>Red One\u003c/em> is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.\u003c/p>\n\u003cp>[aside postid='arts_13967953']There is ample time during \u003cem>Red One\u003c/em>, which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the \u003cem>Jumanji\u003c/em> reboot filmmaker Jake Kasdan and scripted by the veteran \u003cem>Fast & Furious\u003c/em> screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em>, which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), \u003cem>Red One\u003c/em> feels like an unwanted high-priced Christmas present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U8XH3W0cMss\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the kids. It’s the grown-ups that are killing me.”\u003c/p>\n\u003cp>So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.\u003c/p>\n\u003cp>Callum and other operatives with earpieces shuttle Santa (\u003cem>Red One\u003c/em> in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from \u003cem>Red One\u003c/em> — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?\u003c/p>\n\u003cp>Such are the ugly-sweater clashes of \u003cem>Red One\u003c/em>, a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But \u003cem>Red One\u003c/em> is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is ample time during \u003cem>Red One\u003c/em>, which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the \u003cem>Jumanji\u003c/em> reboot filmmaker Jake Kasdan and scripted by the veteran \u003cem>Fast & Furious\u003c/em> screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em>, which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), \u003cem>Red One\u003c/em> feels like an unwanted high-priced Christmas present.\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/U8XH3W0cMss'\n title='//www.youtube.com/embed/U8XH3W0cMss'\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>“I love the kids. It’s the grown-ups that are killing me.”\u003c/p>\n\u003cp>So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.\u003c/p>\n\u003cp>Callum and other operatives with earpieces shuttle Santa (\u003cem>Red One\u003c/em> in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Gladiator II,’ With Denzel Washington, Goes Back Into the Arena",
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"content": "\u003cp>Rome teeters on the brink in Ridley Scott’s \u003cem>Gladiator II\u003c/em>. Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.\u003c/p>\n\u003cp>[aside postid='arts_13967891']On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ts0N8swyWFI\u003c/p>\n\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)\u003c/p>\n\u003cp>[aside postid='arts_13967848']Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>[aside postid='arts_13967805']Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\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/Ts0N8swyWFI'\n title='//www.youtube.com/embed/Ts0N8swyWFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "things-to-do-bay-area-election-weekend-leave-the-house",
"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend",
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"content": "\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n",
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"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dahomey-review-mati-diop-benin-documentary",
"title": "‘Dahomey’ Follows Relics’ Return to Benin in a Moving Documentary",
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"headTitle": "‘Dahomey’ Follows Relics’ Return to Benin in a Moving Documentary | KQED",
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"content": "\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>[aside tag='film' label='More to watch']This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Washington Family Tells a Ghost Story in August Wilson’s ‘The Piano Lesson’",
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"content": "\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>[aside postid='arts_13967522']Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cZwjt0pjt8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>[aside postid='arts_13967549']Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\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/cZwjt0pjt8w'\n title='//www.youtube.com/embed/cZwjt0pjt8w'\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>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kieran Culkin Shines in Jesse Eisenberg’s Deft, Accomplished ‘A Real Pain’",
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"content": "\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>[aside postid='arts_13967482']That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls\u003c/p>\n\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>[aside postid='arts_13967410']In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>[aside postid='arts_13967293']There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In new horror movie \u003cem>Heretic\u003c/em>, the terror begins with the promise of a home-cooked blueberry pie. The pie is just one of the ways in which the villain of the piece, Mr. Reed (a superbly sinister Hugh Grant) lures two Mormon missionaries into his spiraling nightmare of a home. The pie — or rather, the lack of one — is the first indication Sister Barnes (\u003cem>Yellowjackets\u003c/em>’ Sophie Thatcher) and Sister Paxton (Chloe East) have that they’re in danger. Blueberry pie appears again and again throughout.\u003c/p>\n\u003cp>[aside postid='pop_105670']That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>[aside postid='arts_13904911']\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\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/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>[aside postid='arts_13959414']In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>[aside postid='arts_13967293']The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\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/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\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>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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