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"title": "‘Anora’ Disguises Its Moral Center in a Swirl of Exuberance and Mayhem",
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"content": "\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Edward Berger’s \u003cem>Conclave\u003c/em>, the selection of the pope is no holy affair. Instead, it’s a petty, political campaign carried out in secrecy, where gossip flows, agendas are malleable and loyalties are fleeting. All are there to serve God, they say. But we all know how helpful that has been in conflicts throughout history. \u003cem>Conclave\u003c/em> might not have much new or interesting to say about the Catholic Church, but it is a deliriously fun watch in the way that tense, smart thrillers with an ensemble of great actors can be.\u003c/p>\n\u003cp>It’s fitting that Peter Straughan, who co-wrote the script for \u003cem>Tinker Tailor Soldier Spy\u003c/em>, was the one to adapt Robert Harris’ 2016 novel, taking audiences inside the secretive halls of the Vatican in the immediate aftermath of the pope’s death. The film opens abruptly and effectively on Ralph Fiennes’ back, walking somewhere briskly. Nothing is said. You don’t even see his face. But between Volker Bertelmann’s heightened score and Fiennes’ pace and tensed shoulders, the mood is set. This, it is clear, is not going to be a straightforward affair. Plus, something seems a little fishy about this death.\u003c/p>\n\u003cp>[aside postid='arts_13967037']Fiennes plays Cardinal Thomas Lawrence, the dean of the College of Cardinals, whose duty is to oversee the election of the next pope. That means gathering a group of 100-some clergymen in Rome to vote. With many dreaming of ascending to the position, they’re secluded from the outside world and left to their own devices to lobby for support.\u003c/p>\n\u003cp>There are some formidable forces at play following the death of a more liberal-minded pope. Stanley Tucci’s Aldo Bellini is a progressive hoping to evolve the church dramatically. Sergio Castellitto’s Goffredo Tedesco thinks they’ve gone astray and wants to bring it back to the days of Latin Mass and Italian leadership. There’s also Lucian Msamati’s Joshua Adeyemi, from Nigeria, who stands to make history as the first Black pope but whose views on homosexuality worry the progressives. And finally, John Lithgow’s slick but earnest Joseph Tremblay, who, unlike Bellini, wears his ambition on his sleeve. He also happened to be the last official meeting on the pope’s schedule before he died and delayed before calling Lawrence with the news.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JX9jasdi3ic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a film business where youth still reigns supreme, \u003cem>Conclave\u003c/em> is a symphony of lovely aging faces. These actors whose forehead lines don’t disappear at rest are in full command of their instruments showing a world of experience, doubt and regret in any given glance. Fiennes gets the majority of the close-ups, as a man who is having to manage this increasingly unwieldy proceeding while also grappling with his own internal crisis. He reveals to Bellini, who he hopes will be selected, that he recently attempted to resign. His request, he said, was denied.\u003c/p>\n\u003cp>[aside postid='arts_13967007']And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A celebration of Black sci-fi, horror, fantasy and anime is coming to Oakland’s Grand Lake Theatre on Nov. 6: \u003ca href=\"https://afrocomiccon.org/\">AfroComicCon International Film Festival\u003c/a>. The one-day event features a screening of 38 short films by independent directors, an Afrofuturist fashion show, stand-up comedy by Papp Johnson and live music by Oakland-based Congolese drummer Kiazi Malonga.\u003c/p>\n\u003cp>Among the films to look forward to is Benjamin MulHolland’s \u003ca href=\"https://www.thelakemerrittmonstermovie.com/\">\u003ci>The Lake Merritt Monster\u003c/i>\u003c/a>, a beautifully shot, 16-minute sci-fi short about an Oakland teenager named Ollie whose mom gets snatched up by a mysterious beast lurking around Lake Merritt. Ollie and his lovable band of friends — who include a heavy-metal guitarist and two science whizzes — hunt for the monster in a thrilling tale that pulls in social commentary and bits of Filipino folklore.\u003c/p>\n\u003cfigure id=\"attachment_13967044\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers at AfroComicCon 2023. \u003ccite>(Patrick Tiu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the program is Chris Cathern’s \u003ca href=\"https://www.imdb.com/title/tt29731964/\">\u003ci>A-Train: New Beginnings\u003c/i>\u003c/a>, a dark comedy about \u003ci>The Boys\u003c/i> superhero, who finds a second act as a rapper after a fall from grace. And Eric Dyson’s \u003ca href=\"https://www.imdb.com/title/tt29260401/\">\u003ci>Sweet Santa Barbara Brown\u003c/i>\u003c/a>, also in the program, travels back to Southern California in the ’80s to tell the story of a basketball team’s dangerous encounter with the police after they’re wrongfully suspected of a jewelry store robbery.\u003c/p>\n\u003cp>The festival’s judges panel features filmmaker and Bay Area Black Comedy Competition producer Tony Spires, producer Lathan Hodge, director and \u003ci>Boyz n the Hood\u003c/i> actor Kenneth A. Brown, video game voice actor and writer Jason E. Kelley (\u003ci>Deathloop\u003c/i>) and actress and comedian Nikki Star.\u003c/p>\n\u003cp>In addition to the films and performances, AfroComicCon promises panel discussions on diverse storytelling, breaking into the industry and filmmaking technology.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>AfroComicCon takes place Nov. 6, 4–10:30 p.m., at Grand Lake Theatre in Oakland. \u003ca href=\"https://allevents.in/oakland/afrocomiccon-international-film-festival-2024/80001272522541\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not your typical stop-motion film when characters name pets after Sylvia Plath and read \u003cem>The Diary of Anne Frank\u003c/em> — or when the story’s inspired by a quote from existentialist thinker Søren Kierkegaard.\u003c/p>\n\u003cp>And it’s certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet.\u003c/p>\n\u003cp>[aside postid='arts_13966836']But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ehc8cc7g31I\u003c/p>\n\u003cp>Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness.\u003c/p>\n\u003cp>[aside postid='arts_13966737']Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>[aside postid='arts_13966390']Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pelican Bay’s SHU (Special Housing Unit) is immortalized in Denzel Washington’s award-winning performance as a crooked cop named Alonzo in the 2001 film \u003ca href=\"https://www.youtube.com/watch?v=Lj4adAAHa68\" target=\"_blank\" rel=\"noopener\">\u003ci>Training Day\u003c/i>\u003c/a>. Just after the film’s climax, as Alonzo is losing his iron fist grip over the residents of an apartment complex, he says to them, “You motherfuckers will be playing basketball in Pelican Bay when I get through with you.” Bloody, sweaty and nearly defeated, he continues with his hollow threat: “SHU program … 23-hour lockdown.”\u003c/p>\n\u003cp>The reference became cemented in popular culture, but the reality of being inside of a solitary unit — confined to a small steel-and-concrete cage for 23 hours a day — is as far from Hollywood as one can get. Up the California coast, roughly a dozen miles from the Oregon border, on the edge of Crescent City, is Pelican Bay State Prison.\u003c/p>\n\u003cfigure id=\"attachment_13966841\" class=\"wp-caption alignnone\" style=\"max-width: 2914px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966841 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png\" alt=\"An aerial view of Pelican Bay State Prison in Crescent City, California.\" width=\"2914\" height=\"1622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png 2914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1920x1069.png 1920w\" sizes=\"auto, (max-width: 2914px) 100vw, 2914px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view of Pelican Bay State Prison in Crescent City, California. \u003ccite>(Courtesy of Lucas Guilkey )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1989, the maximum security facility, designed for mass-scale solitary confinement, was once lauded by former California Governor George Deukmejian as the crown jewel of the state’s prison system. Today the facility is home to hundreds of minimum security residents, and only one quarter of its solitary units are occupied.\u003c/p>\n\u003cp>After years of activism, including \u003ca href=\"https://www.npr.org/2013/07/29/206555385/hunger-strikes-lead-to-changes-in-california-prison-units\" target=\"_blank\" rel=\"noopener\">a massive hunger strike\u003c/a> staged by incarcerated people across the state in 2013 and \u003ca href=\"https://www.kqed.org/news/10664540/california-prisons-agree-to-major-changes-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">a 2015 lawsuit\u003c/a>, the CDCR’s (California Department of Corrections and Rehabilitation) approach to solitary confinement has been drastically altered. While thousands of people have been reinstated into the general prison population after being released from long-term isolation, the practice of subjecting people to solitary confinement hasn’t completely ended. But the story of how we got to this point, where massive changes have been made at Pelican Bay and throughout the state’s prison system, is shown in the documentary film, \u003ci>\u003ca href=\"https://www.thestrikefilm.com/\" target=\"_blank\" rel=\"noopener\">The Strike.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The film — which will screen this Wednesday, Oct. 23, \u003ca href=\"https://www.renaissancerialto.com/TheStrike.php?fbclid=PAZXh0bgNhZW0CMTEAAaYUZqnb8UHfwo-wA54jzL0HSoco-e4FjJU5lsWdMbSl1Eiyurfn3tD31bo_aem_5p6B0t5iFpfg0y9okKYqWg\" target=\"_blank\" rel=\"noopener\">at Oakland’s Grand Lake Theatre\u003c/a> and is scheduled to broadcast on PBS’s \u003cem>Independent Lens\u003c/em> in the spring of 2025 — was directed and produced by \u003ca href=\"https://lucasguilkey.com/\" target=\"_blank\" rel=\"noopener\">Lucas Guilkey \u003c/a>and \u003ca href=\"https://www.joebillmunoz.com/\" target=\"_blank\" rel=\"noopener\">JoeBill Muñoz.\u003c/a> Over a score created by well-known East Bay jazz artist \u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\" target=\"_blank\" rel=\"noopener\">Samora Pinderhughes\u003c/a>, a handful of men who were once incarcerated at the notorious prison share testimonies about their time inside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the men explain their regimen of doing hundreds of push-ups, practicing hours of meditation and playing chess against themselves on a makeshift board made from folded paper, the audience gains an understanding of how cyclical the days on days of seclusion became. Award-winning film editor \u003ca href=\"https://www.danielaquiroz.com/\" target=\"_blank\" rel=\"noopener\">Daniela Quiroz\u003c/a> works magic as she loops the list of activities the interviewees mention, causing the viewer to feel confined not only to the space but also the limits of what someone in solitary can do with their time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3nnMZD6QHE&t=1s\u003c/p>\n\u003cp>One of the men breaks down the struggle of solitary confinement as “trying to tell your mind you’re not losing your mind, when your mind is telling you that you’re losing your mind.”\u003c/p>\n\u003cp>The documentary uses archival footage, reenactments and a staged setting to portray an SHU cell. The filmmakers also gained access to unreleased footage of meetings held by the incarcerated leaders of different racial groups within the prison, who in 2013 formed a truce. Together, they and thousands of other incarcerated people across the state participated in a hunger strike in order to bring attention to their grievances with CDCR.\u003c/p>\n\u003cp>“I couldn’t believe it,” says filmmaker Lucas Guilkey, discussing the archival videos of incarcerated leaders meeting with prison officials. “We had heard about these meetings, but never did we think we would actually get footage of it.”\u003c/p>\n\u003cp>In California’s prison system, where race divides people nearly as much as steel bars do, seeing stakeholders from different racial groups sitting at the same table is almost unfathomable. But it happened, and when it did, those leaders also brought a list of demands for prison officials.\u003c/p>\n\u003cp>At the heart of the battle were five key points: the need for regular meaningful human contact, an end to group punishment, the need for adequate food, the abolition of the debriefing policy (requiring those in solitary confinement to give up dirt on other incarcerated people before they’re allowed to exit) and, lastly, ending the practice of indefinite isolation.\u003c/p>\n\u003cp>There was also a push to end the process by which many incarcerated people land in solitary confinement, which often involved being penalized for holding revolutionary literature, cultural artwork or anything that was remotely “gang affiliated.”\u003c/p>\n\u003cp>On the heels of the hunger strike and the subsequent lawsuit, California made changes to its solitary confinement policies, including the amount of time people could be forced into isolation. (“\u003ca href=\"https://www.unodc.org/documents/justice-and-prison-reform/Nelson_Mandela_Rules-E-ebook.pdf\">The United Nations’ standard\u003c/a> for [imprisoned] isolation is 15 days,” Guilkey says. “Beyond that is considered torture.”) Thousands of people who were siloed in cells for years were released to the general population, and substantive changes were made to the checklist that lands people in solitary confinement in the first place.\u003c/p>\n\u003cp>In October of last year, \u003ca href=\"https://www.cdcr.ca.gov/news/2023/10/05/cdcr-files-regulations-to-reform-use-of-restricted-housing-in-the-states-prisons/\" target=\"_blank\" rel=\"noopener\">the CDCR announced\u003c/a> that solitary confinement, rebranded as Restrictive Housing, would offer a minimum of 20 hours per week “out of cell time” to assist with access to classes and other workshops to help the rehabilitative process.\u003c/p>\n\u003cfigure id=\"attachment_13966877\" class=\"wp-caption alignnone\" style=\"max-width: 2175px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966877 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg\" alt=\"A California prison guard with a gun standing in a watchtower.\" width=\"2175\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg 2175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-2048x1386.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1920x1299.jpg 1920w\" sizes=\"auto, (max-width: 2175px) 100vw, 2175px\">\u003cfigcaption class=\"wp-caption-text\">A California prison guard with a gun standing in a watchtower. \u003ccite>(Courtesy of Lucas Guilkey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guilkey, who began as a volunteer social media producer working to spread awareness of the prison hunger strike over a decade ago, says when he found out the details of the story, he knew it would make for an interesting feature film, even for those who aren’t engrossed in the nuances of prison in California.\u003c/p>\n\u003cp>“I think that you can still take a lot away about the power of organizing, about the power of family,” Guilkey says. He mentions the notion that when a person is incarcerated, a family is also incarcerated. “So the meaning of family,” he says, “is really super important.”\u003c/p>\n\u003cp>The film also deals with the consequences of “tough-on-crime policies” and misguided media narratives built around fear, which have led to devastating consequences for certain communities.\u003c/p>\n\u003cp>As a part of healing the people from those communities, filmmaker JoeBill Muñoz looks at this week’s screenings as a social gathering built around the film.\u003c/p>\n\u003cp>Muñoz explains that in making the film, they had no idea that the hunger strikers would live to see a changed prison system, and definitely didn’t foresee them eventually being released from prison. But, now home, a handful of the men will speak at this week’s screenings.\u003c/p>\n\u003cp>“They all went through the same experience. They were all in the same place for years of their life, isolated, and they didn’t know each other for the most part,” says Muñoz. “They’re going to be together on stage with us, and I think it’s going to be a real special event.”\u003c/p>\n\u003cp>After conceiving of this film 11 years ago, Guilkey says, “It’s been a long and winding road to bring this film to fruition.” After premiering it at Hot Docs in April and showing it at a few other festivals, Guilkey, who is based in the Bay, says this week’s screening is special: “I am personally just so thrilled to be bringing it home to Oakland.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>As a part of the International Documentary Association’s FallDocs 2024 showcase, ‘The Strike’ will screen Wednesday, Oct. 23, at Oakland’s Grand Lake Theatre, and will have subsequent screenings at San Francisco’s Roxie Theatre on Oct. 24. \u003ca href=\"https://www.thestrikefilm.com/screenings?fbclid=PAZXh0bgNhZW0CMTEAAabrM_Jw2ZMhLpto72MB5PeWuQ3aOomXUw-Pdp98_XjlIt2MGY7MDvDFL84_aem_nlmzNesJfkuA5XtSFdtoRg\" target=\"_blank\" rel=\"noopener\">More info and tickets can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pelican Bay’s SHU (Special Housing Unit) is immortalized in Denzel Washington’s award-winning performance as a crooked cop named Alonzo in the 2001 film \u003ca href=\"https://www.youtube.com/watch?v=Lj4adAAHa68\" target=\"_blank\" rel=\"noopener\">\u003ci>Training Day\u003c/i>\u003c/a>. Just after the film’s climax, as Alonzo is losing his iron fist grip over the residents of an apartment complex, he says to them, “You motherfuckers will be playing basketball in Pelican Bay when I get through with you.” Bloody, sweaty and nearly defeated, he continues with his hollow threat: “SHU program … 23-hour lockdown.”\u003c/p>\n\u003cp>The reference became cemented in popular culture, but the reality of being inside of a solitary unit — confined to a small steel-and-concrete cage for 23 hours a day — is as far from Hollywood as one can get. Up the California coast, roughly a dozen miles from the Oregon border, on the edge of Crescent City, is Pelican Bay State Prison.\u003c/p>\n\u003cfigure id=\"attachment_13966841\" class=\"wp-caption alignnone\" style=\"max-width: 2914px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966841 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png\" alt=\"An aerial view of Pelican Bay State Prison in Crescent City, California.\" width=\"2914\" height=\"1622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png 2914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1920x1069.png 1920w\" sizes=\"auto, (max-width: 2914px) 100vw, 2914px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view of Pelican Bay State Prison in Crescent City, California. \u003ccite>(Courtesy of Lucas Guilkey )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1989, the maximum security facility, designed for mass-scale solitary confinement, was once lauded by former California Governor George Deukmejian as the crown jewel of the state’s prison system. Today the facility is home to hundreds of minimum security residents, and only one quarter of its solitary units are occupied.\u003c/p>\n\u003cp>After years of activism, including \u003ca href=\"https://www.npr.org/2013/07/29/206555385/hunger-strikes-lead-to-changes-in-california-prison-units\" target=\"_blank\" rel=\"noopener\">a massive hunger strike\u003c/a> staged by incarcerated people across the state in 2013 and \u003ca href=\"https://www.kqed.org/news/10664540/california-prisons-agree-to-major-changes-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">a 2015 lawsuit\u003c/a>, the CDCR’s (California Department of Corrections and Rehabilitation) approach to solitary confinement has been drastically altered. While thousands of people have been reinstated into the general prison population after being released from long-term isolation, the practice of subjecting people to solitary confinement hasn’t completely ended. But the story of how we got to this point, where massive changes have been made at Pelican Bay and throughout the state’s prison system, is shown in the documentary film, \u003ci>\u003ca href=\"https://www.thestrikefilm.com/\" target=\"_blank\" rel=\"noopener\">The Strike.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The film — which will screen this Wednesday, Oct. 23, \u003ca href=\"https://www.renaissancerialto.com/TheStrike.php?fbclid=PAZXh0bgNhZW0CMTEAAaYUZqnb8UHfwo-wA54jzL0HSoco-e4FjJU5lsWdMbSl1Eiyurfn3tD31bo_aem_5p6B0t5iFpfg0y9okKYqWg\" target=\"_blank\" rel=\"noopener\">at Oakland’s Grand Lake Theatre\u003c/a> and is scheduled to broadcast on PBS’s \u003cem>Independent Lens\u003c/em> in the spring of 2025 — was directed and produced by \u003ca href=\"https://lucasguilkey.com/\" target=\"_blank\" rel=\"noopener\">Lucas Guilkey \u003c/a>and \u003ca href=\"https://www.joebillmunoz.com/\" target=\"_blank\" rel=\"noopener\">JoeBill Muñoz.\u003c/a> Over a score created by well-known East Bay jazz artist \u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\" target=\"_blank\" rel=\"noopener\">Samora Pinderhughes\u003c/a>, a handful of men who were once incarcerated at the notorious prison share testimonies about their time inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the men explain their regimen of doing hundreds of push-ups, practicing hours of meditation and playing chess against themselves on a makeshift board made from folded paper, the audience gains an understanding of how cyclical the days on days of seclusion became. Award-winning film editor \u003ca href=\"https://www.danielaquiroz.com/\" target=\"_blank\" rel=\"noopener\">Daniela Quiroz\u003c/a> works magic as she loops the list of activities the interviewees mention, causing the viewer to feel confined not only to the space but also the limits of what someone in solitary can do with their time.\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/N3nnMZD6QHE'\n title='//www.youtube.com/embed/N3nnMZD6QHE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the men breaks down the struggle of solitary confinement as “trying to tell your mind you’re not losing your mind, when your mind is telling you that you’re losing your mind.”\u003c/p>\n\u003cp>The documentary uses archival footage, reenactments and a staged setting to portray an SHU cell. The filmmakers also gained access to unreleased footage of meetings held by the incarcerated leaders of different racial groups within the prison, who in 2013 formed a truce. Together, they and thousands of other incarcerated people across the state participated in a hunger strike in order to bring attention to their grievances with CDCR.\u003c/p>\n\u003cp>“I couldn’t believe it,” says filmmaker Lucas Guilkey, discussing the archival videos of incarcerated leaders meeting with prison officials. “We had heard about these meetings, but never did we think we would actually get footage of it.”\u003c/p>\n\u003cp>In California’s prison system, where race divides people nearly as much as steel bars do, seeing stakeholders from different racial groups sitting at the same table is almost unfathomable. But it happened, and when it did, those leaders also brought a list of demands for prison officials.\u003c/p>\n\u003cp>At the heart of the battle were five key points: the need for regular meaningful human contact, an end to group punishment, the need for adequate food, the abolition of the debriefing policy (requiring those in solitary confinement to give up dirt on other incarcerated people before they’re allowed to exit) and, lastly, ending the practice of indefinite isolation.\u003c/p>\n\u003cp>There was also a push to end the process by which many incarcerated people land in solitary confinement, which often involved being penalized for holding revolutionary literature, cultural artwork or anything that was remotely “gang affiliated.”\u003c/p>\n\u003cp>On the heels of the hunger strike and the subsequent lawsuit, California made changes to its solitary confinement policies, including the amount of time people could be forced into isolation. (“\u003ca href=\"https://www.unodc.org/documents/justice-and-prison-reform/Nelson_Mandela_Rules-E-ebook.pdf\">The United Nations’ standard\u003c/a> for [imprisoned] isolation is 15 days,” Guilkey says. “Beyond that is considered torture.”) Thousands of people who were siloed in cells for years were released to the general population, and substantive changes were made to the checklist that lands people in solitary confinement in the first place.\u003c/p>\n\u003cp>In October of last year, \u003ca href=\"https://www.cdcr.ca.gov/news/2023/10/05/cdcr-files-regulations-to-reform-use-of-restricted-housing-in-the-states-prisons/\" target=\"_blank\" rel=\"noopener\">the CDCR announced\u003c/a> that solitary confinement, rebranded as Restrictive Housing, would offer a minimum of 20 hours per week “out of cell time” to assist with access to classes and other workshops to help the rehabilitative process.\u003c/p>\n\u003cfigure id=\"attachment_13966877\" class=\"wp-caption alignnone\" style=\"max-width: 2175px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966877 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg\" alt=\"A California prison guard with a gun standing in a watchtower.\" width=\"2175\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg 2175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-2048x1386.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1920x1299.jpg 1920w\" sizes=\"auto, (max-width: 2175px) 100vw, 2175px\">\u003cfigcaption class=\"wp-caption-text\">A California prison guard with a gun standing in a watchtower. \u003ccite>(Courtesy of Lucas Guilkey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guilkey, who began as a volunteer social media producer working to spread awareness of the prison hunger strike over a decade ago, says when he found out the details of the story, he knew it would make for an interesting feature film, even for those who aren’t engrossed in the nuances of prison in California.\u003c/p>\n\u003cp>“I think that you can still take a lot away about the power of organizing, about the power of family,” Guilkey says. He mentions the notion that when a person is incarcerated, a family is also incarcerated. “So the meaning of family,” he says, “is really super important.”\u003c/p>\n\u003cp>The film also deals with the consequences of “tough-on-crime policies” and misguided media narratives built around fear, which have led to devastating consequences for certain communities.\u003c/p>\n\u003cp>As a part of healing the people from those communities, filmmaker JoeBill Muñoz looks at this week’s screenings as a social gathering built around the film.\u003c/p>\n\u003cp>Muñoz explains that in making the film, they had no idea that the hunger strikers would live to see a changed prison system, and definitely didn’t foresee them eventually being released from prison. But, now home, a handful of the men will speak at this week’s screenings.\u003c/p>\n\u003cp>“They all went through the same experience. They were all in the same place for years of their life, isolated, and they didn’t know each other for the most part,” says Muñoz. “They’re going to be together on stage with us, and I think it’s going to be a real special event.”\u003c/p>\n\u003cp>After conceiving of this film 11 years ago, Guilkey says, “It’s been a long and winding road to bring this film to fruition.” After premiering it at Hot Docs in April and showing it at a few other festivals, Guilkey, who is based in the Bay, says this week’s screening is special: “I am personally just so thrilled to be bringing it home to Oakland.”\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>As a part of the International Documentary Association’s FallDocs 2024 showcase, ‘The Strike’ will screen Wednesday, Oct. 23, at Oakland’s Grand Lake Theatre, and will have subsequent screenings at San Francisco’s Roxie Theatre on Oct. 24. \u003ca href=\"https://www.thestrikefilm.com/screenings?fbclid=PAZXh0bgNhZW0CMTEAAabrM_Jw2ZMhLpto72MB5PeWuQ3aOomXUw-Pdp98_XjlIt2MGY7MDvDFL84_aem_nlmzNesJfkuA5XtSFdtoRg\" target=\"_blank\" rel=\"noopener\">More info and tickets can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \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>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \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>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Suburban Fury’ Allows Attempted Gerald Ford Assassin to Tell Her Own Story",
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"content": "\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>[aside postid='arts_13953890']The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>[aside postid='pop_101956']Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FzKZ-KXLtak\u003c/p>\n\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HIj7Qkr8WYU\u003c/p>\n\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=xP7cQnOcU7I\u003c/p>\n\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>[aside postid='arts_13933318']Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UDVjX2OBrwc\u003c/p>\n\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=rwsTYQ26QDQ\u003c/p>\n\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Q786UsnOcsY\u003c/p>\n\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=QX6V-tZn9VA\u003c/p>\n\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\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/FzKZ-KXLtak'\n title='//www.youtube.com/embed/FzKZ-KXLtak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\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/HIj7Qkr8WYU'\n title='//www.youtube.com/embed/HIj7Qkr8WYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\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/xP7cQnOcU7I'\n title='//www.youtube.com/embed/xP7cQnOcU7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\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/UDVjX2OBrwc'\n title='//www.youtube.com/embed/UDVjX2OBrwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\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/rwsTYQ26QDQ'\n title='//www.youtube.com/embed/rwsTYQ26QDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\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/Q786UsnOcsY'\n title='//www.youtube.com/embed/Q786UsnOcsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\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/QX6V-tZn9VA'\n title='//www.youtube.com/embed/QX6V-tZn9VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is the Killer Bachelor No. 1 or No. 2? Anna Kendrick’s Chilling ‘Woman of the Hour’",
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"content": "\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>[aside postid='arts_13966715']The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ODUdpwddTQk\u003c/p>\n\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\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/ODUdpwddTQk'\n title='//www.youtube.com/embed/ODUdpwddTQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "smile-2-horror-movie-review-naomi-scott-parker-finn",
"title": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
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"content": "\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>[aside postid='arts_13966259']\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FU_bAopCcSE\u003c/p>\n\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\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/FU_bAopCcSE'\n title='//www.youtube.com/embed/FU_bAopCcSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\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/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\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/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\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/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\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/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\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/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\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/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Enduring Hurricane Milton, a Florida Director Shows Her Climate Film in Oakland",
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"content": "\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. [aside postid='news_12008755,news_12008028']\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A screening at Oakland’s New Parkway next week, \u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World\u003c/a>, isn’t alluding to some far-off future of potential climate disaster. When we connect by phone, filmmaker Shenny De Los Angeles and her family are sheltering in Kissimmee, Florida. They’re among the over 3 million households without power because of Hurricane Milton.\u003c/p>\n\u003cp>It’s the second major hurricane in two weeks to ravage De Los Angeles’ home state. At the end of September, Hurricane Helene killed over 200 people throughout the Southeastern U.S. and caused tens of billion dollars in structural damage.\u003c/p>\n\u003cp>De Los Angeles and co-director Amanda Morell will be in the Bay Area on Oct. 17 to show their new short film, \u003cem>hija de Florinda\u003c/em>, about a Dominican woman who returns to her ancestors’ lands after they were destroyed by the effects of climate change.\u003c/p>\n\u003cp>“So to be going through it in real time right now, where we had to actually prepare in case our home was taken by Hurricane Milton, speaks volumes — even though it was a fictional story, it’s real life,” says De Los Angeles, adding that she and her family are safe. “I’m navigating it in real time.”\u003c/p>\n\u003cfigure id=\"attachment_13966424\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg\" alt=\"\" width=\"1134\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7.jpeg 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-800x1422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-1020x1813.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-160x284.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-768x1365.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240725_044113_DA4BA7-864x1536.jpeg 864w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Shenny De Los Angeles and Amanda Morell on set for ‘hija de Florinda.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in black and white among the mangrove trees of the Everglades, \u003cem>hija de Florinda\u003c/em> is a poetic film in which a young woman learns about Indigenous practices of controlled burns from her grandmother, practices which are now being recognized as an essential part of the ecosystem in Florida and California alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story deals with environmental racism in a state where terms like “diversity, equity and inclusion” and “climate change” \u003ca href=\"https://www.tampabay.com/news/education/2024/07/08/florida-adds-more-textbook-restrictions-this-time-its-climate-change/\">have been struck from local laws and school textbooks\u003c/a>. It draws from Afro-Indigenous rituals, and takes inspiration from the story of Mamá Tingó, a Dominican woman who fought for the rights of rural farmers and was killed defending her land in 1974. In the film, Mamá Tingó becomes a guardian whose presence links the ideas of protecting the land and protecting future generations. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For De Los Angeles, decades-old laws that suppressed controlled burns became a metaphor for social repression. “I see my grandmother suppressed. I see my mom suppressed,” she says. “And I thought about how if nature is asking us to embrace fire, how do we as Black and brown people embrace our anger, embrace our pain? That’s part of healing.”\u003c/p>\n\u003cp>Living in harmony with fire is also a key theme in the other short film playing at Cinematic Visions of a Climate Just World, Lily Xie’s \u003cem>Remembering Our Way Forward\u003c/em>. (Xie, De Los Angeles and Morell were selected for the screening after winning the Center for Cultural Power’s Climate Woke filmmaker grant.) Xie, a Philadelphia-based animator, came to the Bay Area to capture how Movement Generation and Sogorea Te’ Land Trust returned 43 acres of land in Bay Miwok territory, or Contra Costa County, to Indigenous stewardship in 2023.\u003c/p>\n\u003cp>The stop-motion short, narrated by Movement Generation climate activists, is a storybook-like, optimistic piece about people trying to return to a reciprocal balance with the land after centuries of colonial domination. “I think artists could have a really big role in moving from more extractive relationships to land towards more regenerative relationships,” says Xie. “And a lot of that has to do with storytelling and narrative.”\u003c/p>\n\u003cfigure id=\"attachment_13966426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_1539-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Xie shoots her stop-motion animation film, ‘Remembering Our Way Forward.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>East Coast hurricanes tearing apart communities, West Coast wildfires destroying towns and poisoning the air — each region of the U.S. is dealing with climate change-induced catastrophes. At Cinematic Visions of a Climate Just World, which also features panel discussions and a spoken-word performance by teenage Oakland climate activist \u003ca href=\"https://oaklandside.org/2024/09/18/oakland-teen-climate-activist-youth-vs-apocalypse/\">Aniya Butler\u003c/a>, there’s an opportunity to leave our regional silos and strategize around a global problem.\u003c/p>\n\u003cp>“There’s a lot of intersecting identities and dynamics that play with climate,” says Xie. “It’s often communities of color that are living in ‘sacrifice zones’ that are already at higher climate risk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.eventbrite.com/e/cinematic-visions-of-a-climate-just-world-a-climate-woke-special-screening-tickets-998581994627\">Cinematic Visions of a Climate Just World: A Climate Woke Special Screening\u003c/a>’ takes place at the New Parkway in Oakland on Oct. 17. Free with RSVP.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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