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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the UC Theatre in Berkeley, which is \u003ca href=\"https://theuctheatre.org/\">now a live music venue\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the UC Theatre in Berkeley, which is \u003ca href=\"https://theuctheatre.org/\">now a live music venue\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Zendaya Look-Alike Contest in Oakland Crowns its Winner",
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"content": "\u003cp>Seven contestants stood with their backs to the crowd of onlookers on a chilly, gray afternoon, anxiously awaiting the results of the Zendaya \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">look-alike contest\u003c/a> at Wilma Chan Park in Oakland, the actress’ hometown.\u003c/p>\n\u003cp>Event organizer Cassi Simms slowly walked down the line of potential winners on Wednesday, anticipation building as they passed each hopeful.\u003c/p>\n\u003cp>Just as the rain started up again, Simms reached Zainab Bansfield from San Francisco and tapped her on the shoulder. The crowd of around 60 onlookers erupted in cheers as Bansfield was crowned “Miss Zendaya” with a sash and prize basket.\u003c/p>\n\u003cp>[aside postID='arts_13968233']She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix’s ‘Joy’ Is a Loud Cheer for Fertility, for Never Giving Up — and Science",
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"content": "\u003cp>Toward the end of Netflix’s \u003cem>Joy\u003c/em>, the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren’t the parents, but they had as much to do with the birth as the mom and dad.\u003c/p>\n\u003cp>This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It’s an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.\u003c/p>\n\u003cp>[aside postid='arts_13968348']The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qoyn5BCm37o\u003c/p>\n\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>[aside postid='arts_13968285']Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qoyn5BCm37o'\n title='//www.youtube.com/embed/Qoyn5BCm37o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 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"title": "Remembering the Pussycat Movie Theater in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>[aside postid='pop_84656']Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>[aside postid='arts_13968135']The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>[aside postid='arts_13968236']Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: United Artists in Berkeley",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" 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"title": "Celebrity Lookalike Contests Offer America a Ray of Ridiculous Hope",
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"content": "\u003cp>San Francisco has a long, proud history of hosting park-based lookalike contests focused on unconventionally sexy men. (Hello?! The city has been home to the annual \u003ca href=\"https://www.kqed.org/science/1992138/san-franciscos-hunky-jesus-contest-to-happen-rain-or-shine\">Hunky Jesus contest\u003c/a> since the mid-’90s!) In recent months, though, the trend has gone national, with a series of anarchic, unofficial gatherings to reward young men who closely resemble other famous (and usually \u003ca href=\"https://www.nytimes.com/2024/06/08/style/who-is-a-rodent-man.html\">ratty-faced\u003c/a>) men.\u003c/p>\n\u003cp>In October, a 21-year-old man in full Willy Wonka garb snagged the grand prize of $50 (and an unfeasibly large trophy) at New York’s glorious Timothée Chalamet lookalike competition.\u003c/p>\n\u003cfigure id=\"attachment_13968234\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968234 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg\" alt=\"A young man holds up a 4ft tropny in a park while dressed like Willy Wonka.\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/tim-c-1025x1536.jpg 1025w\" sizes=\"(max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Miles Mitchell, proud winner of the Timothée Chalamet lookalike contest in New York on Oct 27, 2024. \u003ccite>(Jeenah Moon for The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The afternoon was awash with damp hairstyles, pointy cheekbones, creepy mustaches and thirsty, thirsty young ladies looking to land themselves their very own almost-Chalamet. But the most beautiful thing about this very unofficial contest was the sheer, surreal chaos of it all.\u003c/p>\n\u003cp>The contest was masterminded by YouTuber Anthony Po, motivated by his status as a “\u003ca href=\"https://www.youtube.com/watch?v=W0L9qs8rzfM\">less hot Timothée Chalamet\u003c/a>.” Po only put up 100 flyers around New York City, and was fairly astonished when 10,000 people showed up — including \u003ca href=\"https://gothamist.com/arts-entertainment/timoth%C3%A9e-chalamet-surprises-fans-at-nyc-look-alike-contest-winner-crowned\">Timothée Chalamet himself\u003c/a>, who was probably just super-excited about going to a place where everyone would assume he wasn’t actually him. (When he finally announced himself, the screams were deafening.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rMOUSbn2F8A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Po got slapped with a $500 fine, everyone had a good time (except, maybe, the cops) and, well, it looked like so much fun that other cities promptly followed.\u003c/p>\n\u003cp>[aside postid='arts_13967770']“Hmm,” the entire nation seemed to ponder at once, “what slightly rodent-faced hottie should we find lookalikes for in \u003cem>my\u003c/em> town?”\u003c/p>\n\u003cp>The answer for San Francisco was Dev Patel. And so, on Nov. 10, Dolores Park was suddenly inundated with scruff-faced South Asian babes and the (many, many) ladies that love them. A 25-year-old from San Jose named Jaipreet Hundal won, even though, close up, Hundal probably looks more like Adrien Brody than Dev Patel. But who cares?! This was about free, (semi-)wholesome fun in the sun, in the middle of a roiling crapfest of a year.\u003c/p>\n\u003cp>https://twitter.com/therealezrawr/status/1855748004084584525\u003c/p>\n\u003cp>(Still. Someone should do an Adrien Brody lookalike contest somewhere in the Bay soon, so Hundal can go two-for-two.)\u003c/p>\n\u003cp>Then, over the weekend in Chicago, it happened again. The home of \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> decided that it was only right and natural that their lookalike contest should center around Jeremy Allen White. For a few hours, Humboldt Park was a sea of white T-shirts, blue aprons and flagrant cigarette smoking à la Carmen “Carmy” Berzatto.\u003c/p>\n\u003cp>https://twitter.com/FilmUpdates/status/1857928696826573234\u003c/p>\n\u003cp>Finally, one meaty-armed, wonky-faced beefcake emerged triumphant: Ben Shabad, 37, a mental health therapist.\u003c/p>\n\u003cp>Here he is, true to form, making the entire internet feel better.\u003c/p>\n\u003cp>https://twitter.com/FilmUpdates/status/1858232517868113972\u003c/p>\n\u003cp>Lookalike contests have also popped up overseas. Londoners held a Harry Styles contest in which the majority of participants seemed to be struggling with \u003ca href=\"https://x.com/PopCrave/status/1855238017331429446\">acute cases of wishful thinking\u003c/a>. (Coincidentally, that could also be said of the contestants at the \u003ca href=\"https://twitter.com/allurequinn/status/1858253882234986710\">Zayn Malik lookalike contest\u003c/a> in Brooklyn on Sunday. Handsome fellas one and all, but literally none of them looked like Malik.)\u003c/p>\n\u003cp>Plus, Dubliners held a Paul Mescal contest in Ireland. (Paul Mescal is the fella from \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13923009/from-fresh-air-the-10-best-movies-of-2022-paired-off-plus-a-single-no-1\">\u003cem>Aftersun\u003c/em>\u003c/a>. Any day now, Americans will start remembering what he looks like.)\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1854548275799511254\u003c/p>\n\u003cp>Oakland University communications professor Erin Meyers \u003ca href=\"https://www.npr.org/2024/11/18/nx-s1-5195097/lookalike-contests-timothee-chalamet-paul-mescal-harry-styles\">theorized to NPR\u003c/a> that lookalike contests appeal to the public on multiple levels. First and foremost, she explained, they present a rare opportunity for young humans to come together in a public space for something other than collective dissent.\u003c/p>\n\u003cp>“They’re not a protest. They’re not an election rally,” she said. “They’re not things that have been kind of contentious lately. They’re around something that’s a little more fun and they’re very grassroots.”\u003c/p>\n\u003cp>[aside postid='arts_13968221']Meyers also noted that, while women have long felt pressure to keep up with celebrity beauty standards, the concept is reasonably novel for men. Still, Meyers thinks our collective obsession with these lookalike contests will be short-lived.\u003c/p>\n\u003cp>“The internet is a fickle place and what’s fun and exciting for people today will be forgotten in a few months,” she told NPR. “And maybe they’ll run out of celebrities, I don’t know … Well, we’ll never run out of celebrities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly. We owe it to each other as a society to keep these ridiculous competitions going for as long as we possibly can. The end of 2024 has been a much sunnier and sillier time because of them. And thank all of the beautiful ratty-faced men for that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lookalike contests have also popped up overseas. Londoners held a Harry Styles contest in which the majority of participants seemed to be struggling with \u003ca href=\"https://x.com/PopCrave/status/1855238017331429446\">acute cases of wishful thinking\u003c/a>. (Coincidentally, that could also be said of the contestants at the \u003ca href=\"https://twitter.com/allurequinn/status/1858253882234986710\">Zayn Malik lookalike contest\u003c/a> in Brooklyn on Sunday. Handsome fellas one and all, but literally none of them looked like Malik.)\u003c/p>\n\u003cp>Plus, Dubliners held a Paul Mescal contest in Ireland. (Paul Mescal is the fella from \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13923009/from-fresh-air-the-10-best-movies-of-2022-paired-off-plus-a-single-no-1\">\u003cem>Aftersun\u003c/em>\u003c/a>. Any day now, Americans will start remembering what he looks like.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Oakland University communications professor Erin Meyers \u003ca href=\"https://www.npr.org/2024/11/18/nx-s1-5195097/lookalike-contests-timothee-chalamet-paul-mescal-harry-styles\">theorized to NPR\u003c/a> that lookalike contests appeal to the public on multiple levels. First and foremost, she explained, they present a rare opportunity for young humans to come together in a public space for something other than collective dissent.\u003c/p>\n\u003cp>“They’re not a protest. They’re not an election rally,” she said. “They’re not things that have been kind of contentious lately. They’re around something that’s a little more fun and they’re very grassroots.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meyers also noted that, while women have long felt pressure to keep up with celebrity beauty standards, the concept is reasonably novel for men. Still, Meyers thinks our collective obsession with these lookalike contests will be short-lived.\u003c/p>\n\u003cp>“The internet is a fickle place and what’s fun and exciting for people today will be forgotten in a few months,” she told NPR. “And maybe they’ll run out of celebrities, I don’t know … Well, we’ll never run out of celebrities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly. We owe it to each other as a society to keep these ridiculous competitions going for as long as we possibly can. The end of 2024 has been a much sunnier and sillier time because of them. And thank all of the beautiful ratty-faced men for that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the California Theater in Berkeley, which closed in 2020.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 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"title": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’",
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"content": "\u003cp>In 2022, hip-hop artist \u003ca href=\"https://www.instagram.com/versoulmusic/\">Versoul\u003c/a> temporarily stepped away from the microphone and turned on a camera to capture her grandmother’s story while her grandma was around to tell it herself.\u003c/p>\n\u003cp>Her grandmother Sachiko Higa Rosa Roverso immigrated from Peru to San Francisco in the early 1970s. A single mother of two sons, she lived humbly in her 200-square-foot Mission District apartment until she passed away at 82 years old, not long after Versoul recorded her story. Throughout her life, Grandmother Sachiko felt the impacts of imperialism, war and anti-Japanese racism. The lessons she taught her granddaughter \u003cspan style=\"font-weight: 400\">—\u003c/span> that treating people well costs nothing and has lasting positive reverberations \u003cspan style=\"font-weight: 400\">—\u003c/span> became Versoul’s lens as a filmmaker. [aside postid='arts_13950855']\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\u003c/p>\n\u003cp>https://youtu.be/C_CXrbEp9Ak?si=0QJ4ZIhXpXkIivfn\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” [aside postid='arts_13968060']\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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