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"content": "\u003cp>Maybe because most of us come from somewhere else, Americans just love replicas of foreign places — William Randolph Hearst’s \u003ca href=\"https://www.kqed.org/arts/13886781/californias-trailblazing-female-architect-built-lavishly-lived-simply\">faux European castle\u003c/a> in San Simeon, Calif.; Paris Las Vegas with its half-size Eiffel Tower and mini Louvre; or the mock Alpine village you find in, of all places, Helen, Ga. Creating a giddy atmosphere that Umberto Eco dubbed “hyperreality,” such crazily ambitious simulacra fill nearly everyone with childish delight.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.npr.org/2011/05/19/136142322/book-of-mormon-creators-on-their-broadway-smash\">Trey Parker and Matt Stone\u003c/a> of \u003cem>South Park\u003c/em> and \u003cem>The\u003c/em> \u003cem>Book of Mormon\u003c/em> fame. Although notorious for their cynical humor, both harbor a profound affection for one of the places they adored as kids: Casa Bonita, a 50,000 square foot attraction in a Lakewood, Colo., strip mall that has been dubbed the Disneyland of Mexican restaurants. It’s an Anglo businessman’s fantastical riff on an old Mexican village, one decked out with Old West outlaws, volcanoes, cliff divers and even a gorilla that runs through caverns studded with stalactites.\u003c/p>\n\u003cp>[aside postid='arts_13960040']More than half a century after opening in 1974 — complete with TV ads featuring Ricardo Montalban! — this once-spectacular crowd-puller had fallen on such desperate times that it was doomed to close. Then it was bought out of bankruptcy “as is” by Stone and Parker, who vowed to save the beloved Colorado landmark and return it to its former glory.\u003c/p>\n\u003cp>Their battle to do so is the subject of the enjoyable new documentary \u003cem>¡Casa Bonita, Mi Amor!\u003c/em> Directed by Arthur Bradford and produced by MTV Documentary Films, the movie’s a treat, weaving together great archival footage, excerpts from \u003cem>South Park\u003c/em> and Elvis’ movie \u003cem>Fun in Acapulco\u003c/em>, plus countless scenes of Parker and Stone’s amused horror when they hear the latest reason why their labor of love is becoming a money-pit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I4TkkS7xePY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a zippy capsule history of Casa Bonita, with its Pepto-Bismol-pink facade and blue fountain out front, the movie returns to the present to show everything it takes to recreate a mecca whose true meaning lay in the feelings it once induced. Because the original Casa Bonita was legendary for lousy food, they bring on an executive chef, Dana Rodriguez, who’s been nominated for James Beard Awards. She takes Parker to Oaxaca so he can soak up the atmosphere and get inspired.\u003c/p>\n\u003cp>Yet wondrous inspiration bumps into un-wondrous reality. Turns out that their new property is a dilapidated death trap in which everything — electricity, plumbing, air conditioning — must be redone. A renovation originally budgeted at $6 million suddenly balloons to a new estimate of $20 million plus.\u003c/p>\n\u003cp>[aside postid='arts_13964208']Now, as \u003cem>¡Casa Bonita Mi Amor!\u003c/em> chronicles the high price of nostalgia, it also offers an offhand glimpse at one of pop culture’s signature creative teams. It doesn’t take long to spot the differences between the two longtime friends — Parker is clearly the dreamy, creative one; Stone the shrewd whetstone on which he sharpens his ideas. What you may find surprising is the secret sentimentality of guys whose comedy takes such pride in finding nothing sacred. Parker, in particular, betrays a sweetness in his romantic attachment to the innocent pleasures of childhood. He’s also a perfectionist. We see his artistic process, fussing over and tweaking every creative detail of the project.\u003c/p>\n\u003cp>As their crew desperately races to have everything perfect by opening day — spending even more millions along the way — it becomes clear that Parker and Stone are chasing a ghost or maybe a paradox. The original Casa Bonita was a 1970s inauthentic version of 19th-century Mexico, but to recapture its magic this new version can’t be the same Casa Bonita that Parker remembers so fondly. Just as Indiana Jones’ movies had to use top-drawer talent to emulate cheap, old movie serials, so their restaurant has to meet today’s expectations — tastier food, sharper entertainment — or visitors won’t find it as thrilling as the original. To feel the same, it has to be different.\u003c/p>\n\u003cp>By the time Casa Bonita finally reopens — there is a happy ending — Parker and Stone have done something that could hardly be more quintessentially American: They’ve spent a fortune to make a copy of a Mexican-themed restaurant that’s actually better than the original.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘¡Casa Bonita, Mi Amor!’ opens in the Bay Area on Sept. 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>[aside postid='arts_13964088']C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E&t=17s\u003c/p>\n\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>[aside postid='arts_13964353']What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Sorry, We’re Dead’ Depicts a Deadpan Quarter-Life Crisis With a Bay Area Bent",
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"content": "\u003cp>In his first feature film \u003ci>\u003ca href=\"https://www.oiff.org/events/united-states/california/oakland/friday-september-20th-800-bottled-spirits-rt-3415-min-840-sorry-were-dead-rt-86-min/\">Sorry, We’re Dead\u003c/a>\u003c/i>, Bay Area filmmaker Alex Zajicek combines absurdism, comedy and his love of metanarrative to portray the unraveling of Lana Jing’s life as she endures a career-related, quarter-life crisis. Armed with sarcasm and the encouragement of a secret admirer, Jing could be closer than ever to reaching her destiny — or at least a path leading away from her current job.\u003c/p>\n\u003cp>[aside postID='arts_13962898,arts_13963828']\u003ci>Sorry, We’re Dead\u003c/i> is one of the many films playing at the \u003ca href=\"https://www.oiff.org/\">Oakland International Film Festival\u003c/a>, which kicked off its 22nd year last week. With the hope of using film to capture and uplift Bay Area ways of life, there’s something for everyone in \u003ca href=\"https://www.oiff.org/screenings/\">this year’s lineup\u003c/a> of films made for and inspired by local folks.\u003c/p>\n\u003cp>In Contra Costa county, we meet Lana Jing (Sarah Lee) deeply engulfed in ennui as a result of her tedious, soul-sucking job as a video editor of college lectures. Jing is at a crossroads in her professional life, but lacks the confidence or drive to do anything about it. She knows she needs to take action in some way, and quickly — a chipper voicemail from her boss late at night tells us she’s about to get even more videos added to her plate, despite an already booked calendar. Jing is immobilized, overwhelmed, only able to lie back in bed on the verge of tears, holding a plush, stuffed chicken. \u003c/p>\n\u003cfigure id=\"attachment_13964369\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster.jpg\" alt=\"Poster with actors and sign that reads film title on yellow background\" width=\"540\" height=\"800\" class=\"size-full wp-image-13964369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster-160x237.jpg 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Alex Zajicek’s debut feature stars Sarah Lee as Lana Jing, a burned-out aspiring filmmaker. \u003ccite>(Courtesy of Oakland International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of her video editing job, Jing, whose character contains traces of Aubrey Plaza and her deadpan delivery style, has been working to get her own film career off the ground. But with more work and a potential promotion on the horizon, Jing has had less and less time to focus on her own endeavors. Her last bit of hope feels dependent on getting a response from a California screenwriting contest. Friends like her coworker Burd Juarez (San José-born Davied Morales) have been trying to encourage her, offering connections to freelance gigs, but she’d need the confidence to actually pick up the phone and call those job prospects. “I probably can’t even do what they need,” she tells Juarez.\u003c/p>\n\u003cp>If Jing’s relatable imposter syndrome doesn’t immediately suck you in, Alex Zajicek’s supply of dry humor for the character will. Jing has the ability to break the fourth wall á la \u003ci>The Office\u003c/i>, and helps us get a sense of every new character we meet by providing us with on-screen chyrons. \u003c/p>\n\u003cp>Her roommate, Monica Walker (Anna Sharpe) gets a bullet point that lets us know she’s Jing’s best friend. Jin’s (annoying) coworker Michael Stevens (Chris Morrell), gets a chyron that not only follows him as he moves on screen, but covers up his head. \u003c/p>\n\u003cp>At times, Zajicek’s cinematic choices reminded me a bit of \u003ci>Scott Pilgrim vs. The World\u003c/i>. There are scenes shot in black and white, stop-motion animations, tiny cartoon versions of Jing’s character that sit on her shoulders, absurd signage, and Apple sound effects added to real-life actions. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zajicek, a known fan of adding meta elements to his work, throws in plenty of those moments too. In one scene Jing sits with her roommate Walker in the car and says, “I could really use like, a third act turning point right now that fixes everything.” Walker laughs and replies, “Imagine if the film ended right now.” On screen, the credits start rolling. “I wonder who’s playing me,” Jing asks. \u003c/p>\n\u003cp>Her dialogue with Walker is the only thing keeping us tethered to the plot while the cast and crew names appear in white against a black screen. “Sarah … Lee,” Jing reads. “This is my movie, why couldn’t I couldn’t get Constance Wu to play me?” she asks. “Who’s even directing it? Alex …” she struggles to pronounce Zajicek’s last name. \u003c/p>\n\u003cp>https://vimeo.com/921251025\u003c/p>\n\u003cp>Festivalgoers will also appreciate Zajicek’s nods to everyday Bay Area life. At one point, Walker turns to Jing and says, “You ready to brave the city traffic?” Cut to a scene of standstill traffic on a Bay Area bridge, complete with honking, wailing sirens and agonized screaming. \u003c/p>\n\u003cp>Perhaps the best moment for locals comes toward the film’s end. Wheels spinning from another difficult lecture video edit, Walker pulls Jing out of bed to try and enjoy some time in the sun, away from work. “It’s so depressing here,” Jing says of the surrounding greenery. “It’s all gonna be dead by summer.” \u003c/p>\n\u003cp>“That’s what all the grass in California does,” Walker counters. “It doesn’t die, it’s just dormant.” Maybe this whole time, Jing too has been waiting for one good, heavy rain to help her sprout up with the energy to escape her ennui and start again. \u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.oiff.org/events/united-states/california/oakland/friday-september-20th-800-bottled-spirits-rt-3415-min-840-sorry-were-dead-rt-86-min/\">Sorry, We’re Dead\u003c/a>’ plays at Northeastern University (formerly Mills College, 5000 MacArthur Blvd., Oakland) as part of the \u003ca href=\"https://www.oiff.org/\">Oakland International Film Festival\u003c/a> on Friday, Sept. 20, 2024, 8:40 p.m. It also screens at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th St., Oakland) on Sept. 29, 12:15 p.m.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>Sorry, We’re Dead\u003c/i> is one of the many films playing at the \u003ca href=\"https://www.oiff.org/\">Oakland International Film Festival\u003c/a>, which kicked off its 22nd year last week. With the hope of using film to capture and uplift Bay Area ways of life, there’s something for everyone in \u003ca href=\"https://www.oiff.org/screenings/\">this year’s lineup\u003c/a> of films made for and inspired by local folks.\u003c/p>\n\u003cp>In Contra Costa county, we meet Lana Jing (Sarah Lee) deeply engulfed in ennui as a result of her tedious, soul-sucking job as a video editor of college lectures. Jing is at a crossroads in her professional life, but lacks the confidence or drive to do anything about it. She knows she needs to take action in some way, and quickly — a chipper voicemail from her boss late at night tells us she’s about to get even more videos added to her plate, despite an already booked calendar. Jing is immobilized, overwhelmed, only able to lie back in bed on the verge of tears, holding a plush, stuffed chicken. \u003c/p>\n\u003cfigure id=\"attachment_13964369\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster.jpg\" alt=\"Poster with actors and sign that reads film title on yellow background\" width=\"540\" height=\"800\" class=\"size-full wp-image-13964369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sorry-poster-160x237.jpg 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Alex Zajicek’s debut feature stars Sarah Lee as Lana Jing, a burned-out aspiring filmmaker. \u003ccite>(Courtesy of Oakland International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of her video editing job, Jing, whose character contains traces of Aubrey Plaza and her deadpan delivery style, has been working to get her own film career off the ground. But with more work and a potential promotion on the horizon, Jing has had less and less time to focus on her own endeavors. Her last bit of hope feels dependent on getting a response from a California screenwriting contest. Friends like her coworker Burd Juarez (San José-born Davied Morales) have been trying to encourage her, offering connections to freelance gigs, but she’d need the confidence to actually pick up the phone and call those job prospects. “I probably can’t even do what they need,” she tells Juarez.\u003c/p>\n\u003cp>If Jing’s relatable imposter syndrome doesn’t immediately suck you in, Alex Zajicek’s supply of dry humor for the character will. Jing has the ability to break the fourth wall á la \u003ci>The Office\u003c/i>, and helps us get a sense of every new character we meet by providing us with on-screen chyrons. \u003c/p>\n\u003cp>Her roommate, Monica Walker (Anna Sharpe) gets a bullet point that lets us know she’s Jing’s best friend. Jin’s (annoying) coworker Michael Stevens (Chris Morrell), gets a chyron that not only follows him as he moves on screen, but covers up his head. \u003c/p>\n\u003cp>At times, Zajicek’s cinematic choices reminded me a bit of \u003ci>Scott Pilgrim vs. The World\u003c/i>. There are scenes shot in black and white, stop-motion animations, tiny cartoon versions of Jing’s character that sit on her shoulders, absurd signage, and Apple sound effects added to real-life actions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zajicek, a known fan of adding meta elements to his work, throws in plenty of those moments too. In one scene Jing sits with her roommate Walker in the car and says, “I could really use like, a third act turning point right now that fixes everything.” Walker laughs and replies, “Imagine if the film ended right now.” On screen, the credits start rolling. “I wonder who’s playing me,” Jing asks. \u003c/p>\n\u003cp>Her dialogue with Walker is the only thing keeping us tethered to the plot while the cast and crew names appear in white against a black screen. “Sarah … Lee,” Jing reads. “This is my movie, why couldn’t I couldn’t get Constance Wu to play me?” she asks. “Who’s even directing it? Alex …” she struggles to pronounce Zajicek’s last name. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Festivalgoers will also appreciate Zajicek’s nods to everyday Bay Area life. At one point, Walker turns to Jing and says, “You ready to brave the city traffic?” Cut to a scene of standstill traffic on a Bay Area bridge, complete with honking, wailing sirens and agonized screaming. \u003c/p>\n\u003cp>Perhaps the best moment for locals comes toward the film’s end. Wheels spinning from another difficult lecture video edit, Walker pulls Jing out of bed to try and enjoy some time in the sun, away from work. “It’s so depressing here,” Jing says of the surrounding greenery. “It’s all gonna be dead by summer.” \u003c/p>\n\u003cp>“That’s what all the grass in California does,” Walker counters. “It doesn’t die, it’s just dormant.” Maybe this whole time, Jing too has been waiting for one good, heavy rain to help her sprout up with the energy to escape her ennui and start again. \u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.oiff.org/events/united-states/california/oakland/friday-september-20th-800-bottled-spirits-rt-3415-min-840-sorry-were-dead-rt-86-min/\">Sorry, We’re Dead\u003c/a>’ plays at Northeastern University (formerly Mills College, 5000 MacArthur Blvd., Oakland) as part of the \u003ca href=\"https://www.oiff.org/\">Oakland International Film Festival\u003c/a> on Friday, Sept. 20, 2024, 8:40 p.m. It also screens at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th St., Oakland) on Sept. 29, 12:15 p.m.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Man Who Rented Santa Rosa Its DVDs Now Does the Unthinkable",
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"content": "\u003cp>Growing up in Santa Rosa, everyone my age either worked at Bradley Video, knew someone who worked at Bradley Video or rented movies from Bradley Video. During the height of home video rentals, its six stores in town outnumbered the corporate behemoths (Blockbuster, Hollywood Video) and the beloved niche store (Video Droid, still missed).\u003c/p>\n\u003cp>I’ve known extras from \u003ca href=\"https://www.youtube.com/watch?v=9SYTdjG0BO4\">the famous video store scene in \u003cem>Scream\u003c/em>\u003c/a>, which was filmed at a Bradley Video. I’ve heard stories of unsavory after-hours activities involving adult DVDs and brazen employees.\u003c/p>\n\u003cp>And, yes, I’d heard that the guy who owned Bradley Video has now lost his mind.\u003c/p>\n\u003cfigure id=\"attachment_13964213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley in the middle of the desert in Death Valley, running the Badwater 135. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By which I mean that Bill Bradley, who declared bankruptcy and \u003ca href=\"https://www.pressdemocrat.com/article/news/all-11-stores-close-three-months-after-filing-for-bankruptcy/\">closed all 11 Bradley Video stores\u003c/a> as his industry cratered in 2005, now climbs mountains. And runs ultra-marathons. And heaves his body across freezing temperatures, blistering heat, numbing sea water and dizzying altitudes, regularly, over and over.\u003c/p>\n\u003cp>Why? That’s the central question posited by the hour-long documentary \u003cem>\u003ca href=\"https://www.epicbillfilm.com/\">Epic Bill\u003c/a>\u003c/em>, about Bill Bradley’s quest to push himself as much as humanly possible, and then a little more, too. The film \u003ca href=\"https://www.kqed.org/pressroom/12366/kqed-presents-epic-bill-a-story-of-resilience-and-reinvention\">premieres on KQED 9 on Friday, Sept. 13 at 8p.m\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in his mid-60s, Bradley runs hundreds of miles through Death Valley for fun. He’s completed a “Badwater Quad,” racing between the lowest point in Death Valley to Mt. Whitney and back for a total of 584 miles. He’s broken the world record for most consecutive rim-to-rim runs in the Grand Canyon.\u003c/p>\n\u003cp>And he’s not about to stop. He’s attempted to swim the English Channel five times. He’s made six attempts at summiting Mt. Denali.\u003c/p>\n\u003cfigure id=\"attachment_13964210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley climbs Mount Aconcagua, the highest peak in the Americas, at sundown. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But… why? \u003cem>Epic Bill\u003c/em> addresses that persistent question in various ways. Being worth $5 million and then going bankrupt at age 45 “royally screwed my mind up,” Bradley says. After a period of self-doubt, he took up a friend’s offer to run a 50-mile race and hasn’t looked back since.\u003c/p>\n\u003cp>Filmed while Bradley attempts the snowy 135-mile Arrowhead race in Minnesota and the 22,837-ft. Mt. Aconcagua in Argentina, the documentary digs into the grisly details of Bradley’s pursuits, and the effect extreme conditions have on his body. (Those queasy at the sight of gnarled, blistered feet: be warned.)\u003c/p>\n\u003cp>“At his core, he’s an excessive personality type,” says his daughter. That’s evident at one point when, against all advice of race officials who’ve evaluated his condition, he continues the Arrowhead anyway. The only time he stops is when he physically can’t go on; in a self-filmed scene on Mt. Aconcagua, just 600 feet from the top, he painfully explains that he can no longer stand up, let alone hike, due to the altitude.\u003c/p>\n\u003cfigure id=\"attachment_13964212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley, seen in the distance at left, trudging through the Northeastern Minnesota wilderness during the Arrowhead 135. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again… \u003cem>why\u003c/em>? Why continue to chase your improbable dreams when everyone is telling you to stop, and when people are literally dying on the mountain around you?\u003c/p>\n\u003cp>If you don’t care about the answer, the documentary might start to drag. But for anyone who knows the monomaniacal quest to finish something, no matter how much pain to your body, no matter how much your brain is telling you no, \u003cem>Epic Bill\u003c/em> will feel very familiar.\u003c/p>\n\u003cp>As Bradley himself says, in the best explanation for his pursuits: “You feel alive because you’re pushing the boundaries of what a human can do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.epicbillfilm.com/\">Epic Bill\u003c/a>’ premieres premieres on KQED 9 on Friday, Sept. 13 at 8 p.m. \u003ca href=\"http://<a%20href=\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Santa Rosa, everyone my age either worked at Bradley Video, knew someone who worked at Bradley Video or rented movies from Bradley Video. During the height of home video rentals, its six stores in town outnumbered the corporate behemoths (Blockbuster, Hollywood Video) and the beloved niche store (Video Droid, still missed).\u003c/p>\n\u003cp>I’ve known extras from \u003ca href=\"https://www.youtube.com/watch?v=9SYTdjG0BO4\">the famous video store scene in \u003cem>Scream\u003c/em>\u003c/a>, which was filmed at a Bradley Video. I’ve heard stories of unsavory after-hours activities involving adult DVDs and brazen employees.\u003c/p>\n\u003cp>And, yes, I’d heard that the guy who owned Bradley Video has now lost his mind.\u003c/p>\n\u003cfigure id=\"attachment_13964213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_04.jpg-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley in the middle of the desert in Death Valley, running the Badwater 135. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By which I mean that Bill Bradley, who declared bankruptcy and \u003ca href=\"https://www.pressdemocrat.com/article/news/all-11-stores-close-three-months-after-filing-for-bankruptcy/\">closed all 11 Bradley Video stores\u003c/a> as his industry cratered in 2005, now climbs mountains. And runs ultra-marathons. And heaves his body across freezing temperatures, blistering heat, numbing sea water and dizzying altitudes, regularly, over and over.\u003c/p>\n\u003cp>Why? That’s the central question posited by the hour-long documentary \u003cem>\u003ca href=\"https://www.epicbillfilm.com/\">Epic Bill\u003c/a>\u003c/em>, about Bill Bradley’s quest to push himself as much as humanly possible, and then a little more, too. The film \u003ca href=\"https://www.kqed.org/pressroom/12366/kqed-presents-epic-bill-a-story-of-resilience-and-reinvention\">premieres on KQED 9 on Friday, Sept. 13 at 8p.m\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in his mid-60s, Bradley runs hundreds of miles through Death Valley for fun. He’s completed a “Badwater Quad,” racing between the lowest point in Death Valley to Mt. Whitney and back for a total of 584 miles. He’s broken the world record for most consecutive rim-to-rim runs in the Grand Canyon.\u003c/p>\n\u003cp>And he’s not about to stop. He’s attempted to swim the English Channel five times. He’s made six attempts at summiting Mt. Denali.\u003c/p>\n\u003cfigure id=\"attachment_13964210\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_03.jpg-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley climbs Mount Aconcagua, the highest peak in the Americas, at sundown. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But… why? \u003cem>Epic Bill\u003c/em> addresses that persistent question in various ways. Being worth $5 million and then going bankrupt at age 45 “royally screwed my mind up,” Bradley says. After a period of self-doubt, he took up a friend’s offer to run a 50-mile race and hasn’t looked back since.\u003c/p>\n\u003cp>Filmed while Bradley attempts the snowy 135-mile Arrowhead race in Minnesota and the 22,837-ft. Mt. Aconcagua in Argentina, the documentary digs into the grisly details of Bradley’s pursuits, and the effect extreme conditions have on his body. (Those queasy at the sight of gnarled, blistered feet: be warned.)\u003c/p>\n\u003cp>“At his core, he’s an excessive personality type,” says his daughter. That’s evident at one point when, against all advice of race officials who’ve evaluated his condition, he continues the Arrowhead anyway. The only time he stops is when he physically can’t go on; in a self-filmed scene on Mt. Aconcagua, just 600 feet from the top, he painfully explains that he can no longer stand up, let alone hike, due to the altitude.\u003c/p>\n\u003cfigure id=\"attachment_13964212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964212\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02.jpg\" alt=\"\" width=\"1920\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-1020x525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/EpicBill_Pressroom_02-1536x791.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bradley, seen in the distance at left, trudging through the Northeastern Minnesota wilderness during the Arrowhead 135. \u003ccite>(Quinnolyn Benson-Yates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again… \u003cem>why\u003c/em>? Why continue to chase your improbable dreams when everyone is telling you to stop, and when people are literally dying on the mountain around you?\u003c/p>\n\u003cp>If you don’t care about the answer, the documentary might start to drag. But for anyone who knows the monomaniacal quest to finish something, no matter how much pain to your body, no matter how much your brain is telling you no, \u003cem>Epic Bill\u003c/em> will feel very familiar.\u003c/p>\n\u003cp>As Bradley himself says, in the best explanation for his pursuits: “You feel alive because you’re pushing the boundaries of what a human can do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.epicbillfilm.com/\">Epic Bill\u003c/a>’ premieres premieres on KQED 9 on Friday, Sept. 13 at 8 p.m. \u003ca href=\"http://<a%20href=\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The arts rarely have anything good to say about critics. That they’re not generally the hero of many stories is, at the very least, understandable. More often they’re portrayed as joyless, cruel and a little pathetic; themselves failed artists who live to take down others, or, worse, sycophants in search of a famous friend.\u003c/p>\n\u003cp>[aside postid='arts_13964075']Without getting into any sort of philosophical, or even factual debate about the nature of the kind of person drawn to criticism (besides perhaps a staunch antipathy to either job security or amassing wealth), it is safe to say that the drama critic of \u003cem>The Critic\u003c/em> takes all the worst stereotypes to hysterical heights.\u003c/p>\n\u003cp>Set in the 1930s in London, Ian McKellen is Jimmy Erskine, a veteran theater critic whose reviews can make or break a play or a performer. He has a monastic devotion to telling the truth, as entertainingly as he can, and knows what he must sacrifice to do so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ai8mPOjoSHA\u003c/p>\n\u003cp>“The drama critic is feared and reviled for the judgement he must bring,” McKellen says in an ominous voiceover. “(He) must be cold and perfectly alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When one woman dares to chat him up after a play, offering her take on the material and performances, he swiftly tries to have her removed from the restaurant claiming he must be protected from the general public. When an actress, Nina Land (Gemma Arterton), confronts him about his wildly inconsistent criticisms of her (how can she be both plump and emaciated, she wonders), he refuses to apologize. And he scoffs when the new boss at the newspaper, David Brooke (Mark Strong), implores him to tone it down: “Be kinder,” he says. “More beauty, less beast.”\u003c/p>\n\u003cp>But what starts as satire spirals into a wildly messy tragedy with contrivance upon contrivance. This is a film that could have listened to its anti-hero’s advice to the flailing actress: Do less. That someone as great as Lesley Manville, as Nina’s mother, gets a mere handful of scenes and is only minimally consequential to it all is telling. It strives to be an intricate spider-web of compelling, intersecting stories, but few characters are fleshed out enough for us to care.\u003c/p>\n\u003cp>[aside postid='arts_13963828']\u003cem>The Critic\u003c/em>, handsomely directed by Anand Tucker (\u003cem>Hilary and Jackie\u003c/em>, \u003cem>Leap Year\u003c/em>) and written by Patrick Marber (\u003cem>Closer\u003c/em>, \u003cem>Notes on a Scandal\u003c/em>), is very loosely based on Anthony Quinn’s novel \u003cem>Curtain Call\u003c/em>, itself more a murder mystery than this ever allows itself to be. Instead, the film is about the desperate lengths a man will go to when his job and freedom are threatened. Erskine is the kind of gentleman critic whose power and authority have gone unchallenged for so long, he’s become delusional beyond recognition. His words don’t just destroy, though. They’ve also inspired. Even the actress he obliterates time and time again admits as much: She tells him it was his writing that made her fall in love with the theater.\u003c/p>\n\u003cp>There are some fun ideas here, and good performances. McKellen is having a wonderful time living inside this charismatic monster who you are with until you’re really not. Erskine is also gay; an open secret that becomes a liability with his new boss and the rise of fascist thought around him. But none of it really adds up to anything poignant or enormously entertaining; its darkness is both lopsided and superficial, as most become casualties of Erskine’s aims. Theater critic as tyrant is a juicy premise; \u003cem>The Critic\u003c/em> just can’t live up to the promise.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Critic’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without getting into any sort of philosophical, or even factual debate about the nature of the kind of person drawn to criticism (besides perhaps a staunch antipathy to either job security or amassing wealth), it is safe to say that the drama critic of \u003cem>The Critic\u003c/em> takes all the worst stereotypes to hysterical heights.\u003c/p>\n\u003cp>Set in the 1930s in London, Ian McKellen is Jimmy Erskine, a veteran theater critic whose reviews can make or break a play or a performer. He has a monastic devotion to telling the truth, as entertainingly as he can, and knows what he must sacrifice to do so.\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/ai8mPOjoSHA'\n title='//www.youtube.com/embed/ai8mPOjoSHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The drama critic is feared and reviled for the judgement he must bring,” McKellen says in an ominous voiceover. “(He) must be cold and perfectly alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.\u003c/p>\n\u003cp>“Dude, I’m you,” says the guest, as she nonchalantly burns a ‘smores on a campfire next to a very high and stunned Elliott. “Well, I’m a 39-year-old you. What’s up?”\u003c/p>\n\u003cp>[aside postid='arts_13963828']What’s up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for \u003cem>My Old Ass\u003c/em> and the results are uneven even though she nails the landing.\u003c/p>\n\u003cp>After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.\u003c/p>\n\u003cp>“Can we hug?” asks the older Elliott. They do. “This is so weird,” says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it’s like kissing yourself. The older Elliott soon puts her number into the younger’s phone under the name “My Old Ass.” Then they keep in touch, long after the effects of the ‘shrooms have gone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NbkSfO-eqAE\u003c/p>\n\u003cp>Part of the movie’s problem that can’t be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.\u003c/p>\n\u003cp>The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where “my life is about to start.” She’s sick of life on a cranberry farm.\u003c/p>\n\u003cp>Park’s scenes and dialogue are unrushed and honest as Elliott takes her older self’s advice and tries to repair relationships with her golf-loving older brother and gloriously odd younger one, who has an obsession with Saoirse Ronan. This is a filmmaker who knows siblings and how they vibe.\u003c/p>\n\u003cp>Then Chad pops up.\u003c/p>\n\u003cp>Chad is sweet and thoughtful and goofy and cute and smart and resourceful and really, really into Elliott. “Everything about him feels so right,” the younger wails. A central question in the movie is why My Old Ass wants young Elliott to stay away from Chad, played so beautifully by Percy Hynes White that you want to shake sense into both women.\u003c/p>\n\u003cp>[aside postid='arts_13963688']Both parts of Park’s movie — the coming-of-age tale and the me-visiting-from-the-future tale — work, but maybe not in the same movie, a little like the two different Elliotts. The tone of each part are different, one wistful, the other zany, and together threaten to pull \u003cem>My Old Ass\u003c/em> apart.\u003c/p>\n\u003cp>Aside from a stunningly funny ‘shroom-induced dream sequence that includes a Justin Bieber concert, Park is strongest exploring the liminal space between one thing ending and another beginning — soft beautiful memories that are sad and yet necessary.\u003c/p>\n\u003cp>Both Chad and Elliott’s mother (a strong Maria Dizzia) have lovely dialogue about the profound effects that tiny moments of change can have: Sometimes you know it has ended forever — like a baby transitioning from your bed to a crib — and sometimes you never get to say goodbye, like the last day you spent messing around with your friends on bikes.\u003c/p>\n\u003cp>Even if the road is a little rocky, stay for a satisfying end, one in which, somewhat predictably, the younger Elliott offers some wise advice to the older. There’s a moment or two when Chad threatens to overpower \u003cem>My Old Ass\u003c/em> and steer it into a third movie, but Park knows her way out. It’s a story that has always been about the younger Elliott and seeing her finally steer her boat — literally and metaphorically — is a joy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Old Ass’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What’s up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for \u003cem>My Old Ass\u003c/em> and the results are uneven even though she nails the landing.\u003c/p>\n\u003cp>After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.\u003c/p>\n\u003cp>“Can we hug?” asks the older Elliott. They do. “This is so weird,” says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it’s like kissing yourself. The older Elliott soon puts her number into the younger’s phone under the name “My Old Ass.” Then they keep in touch, long after the effects of the ‘shrooms have gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NbkSfO-eqAE'\n title='//www.youtube.com/embed/NbkSfO-eqAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the movie’s problem that can’t be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.\u003c/p>\n\u003cp>The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where “my life is about to start.” She’s sick of life on a cranberry farm.\u003c/p>\n\u003cp>Park’s scenes and dialogue are unrushed and honest as Elliott takes her older self’s advice and tries to repair relationships with her golf-loving older brother and gloriously odd younger one, who has an obsession with Saoirse Ronan. This is a filmmaker who knows siblings and how they vibe.\u003c/p>\n\u003cp>Then Chad pops up.\u003c/p>\n\u003cp>Chad is sweet and thoughtful and goofy and cute and smart and resourceful and really, really into Elliott. “Everything about him feels so right,” the younger wails. A central question in the movie is why My Old Ass wants young Elliott to stay away from Chad, played so beautifully by Percy Hynes White that you want to shake sense into both women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both parts of Park’s movie — the coming-of-age tale and the me-visiting-from-the-future tale — work, but maybe not in the same movie, a little like the two different Elliotts. The tone of each part are different, one wistful, the other zany, and together threaten to pull \u003cem>My Old Ass\u003c/em> apart.\u003c/p>\n\u003cp>Aside from a stunningly funny ‘shroom-induced dream sequence that includes a Justin Bieber concert, Park is strongest exploring the liminal space between one thing ending and another beginning — soft beautiful memories that are sad and yet necessary.\u003c/p>\n\u003cp>Both Chad and Elliott’s mother (a strong Maria Dizzia) have lovely dialogue about the profound effects that tiny moments of change can have: Sometimes you know it has ended forever — like a baby transitioning from your bed to a crib — and sometimes you never get to say goodbye, like the last day you spent messing around with your friends on bikes.\u003c/p>\n\u003cp>Even if the road is a little rocky, stay for a satisfying end, one in which, somewhat predictably, the younger Elliott offers some wise advice to the older. There’s a moment or two when Chad threatens to overpower \u003cem>My Old Ass\u003c/em> and steer it into a third movie, but Park knows her way out. It’s a story that has always been about the younger Elliott and seeing her finally steer her boat — literally and metaphorically — is a joy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Old Ass’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Quick. Has there ever been a horror film set in a country home with a decent cell signal?\u003c/p>\n\u003cp>Nope, and there’s no signal at Paddy and Ciara’s house, either, deep in the English countryside. Soon, that land line will be cut, too, but we’re getting ahead of ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Paddy and Ciara are that fun-but-somewhat-odd British couple whom Louise and Ben, early in \u003cem>Speak No Evil\u003c/em>, meet on their idyllic Tuscan family holiday. Americans based in London, Louise and Ben are at loose ends, with both job and relationship issues. And so, when the new acquaintances write to invite them for a country weekend, they decide to go.\u003c/p>\n\u003cp>After all, how bad could it be?\u003c/p>\n\u003cp>Don’t answer that. There are many such moments in the first two-thirds of \u003cem>Speak No Evil\u003c/em>, a Hollywood remake of the 2022 Danish film, here starring a deeply menacing James McAvoy. Moments where Louise and Ben, out of mere politeness and social convention, act against their instincts, which tell them something is wrong — very wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, \u003cem>Speak No Evil\u003c/em> becomes an entertaining but routine horror flick, with predictable results.\u003c/p>\n\u003cp>But for a while, it’s a way more intelligent film. And the jumpy moments work — I’ll confess to literally springing out of my seat when someone uneventfully turned on a power drill.\u003c/p>\n\u003cp>We begin in stunning Tuscany, where Louise (Mackenzie Davis, in the film’s most accessible and empathetic performance) and Ben (Scoot McNairy, all nerves and insecurity) are vacationing with 11-year-old daughter Agnes (Alix West Lefler). At the pool, they meet Paddy (McAvoy) and Ciara (Aisling Franciosi), a British couple with a disabled son, Ant, apparently born without a proper tongue.\u003c/p>\n\u003cp>One day in town, Paddy offers Agnes a ride on his Vespa. Louise is frightened to see her daughter disappear on the motorbike with a strange man, but it would be churlish to say no, right?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FjzxI6uf8H8&t=47s\u003c/p>\n\u003cp>In briefly sketched backstories, we learn that Louise and Ben moved to London for Ben’s job, but he was soon downsized out. As for Paddy, all we know is he’s a doctor.\u003c/p>\n\u003cp>[aside postid='arts_13936524']At least, we think he is. The Americans, accepting the weekend invitation back in England, arrive at the secluded country home in dead of night. Immediately something feels off. The rooms are quirky but musty, the sheets stained. How can a doctor live like this, Louise asks? Ben brushes off her concern, quipping that even Downton Abbey is in terrible shape.\u003c/p>\n\u003cp>When the couple cooks dinner, Paddy proudly explains they’ve butchered their prize goose in their guests’ honor. He proffers Louise a forkful — even though he well knows she’s a vegetarian. Louise is disgusted but, politely, takes a bite.\u003c/p>\n\u003cp>Daughter Agnes, too, is freaked out. She’s being made to sleep on the floor next to Ant (Dan Hough, poignant in a role with no words.) And the next evening, when everyone dresses for a special dinner out, Paddy and Ciara inform Louise and Ben that the kids will stay home with a strange male babysitter. “We’ve had mannies before,” Ben tells Louise, unconvincingly.\u003c/p>\n\u003cp>Soon, though, we have the obligatory attempt to flee, followed by the “Oh no, we have to go back” moment — you know, where you’re yelling: “No!” But return the family does.\u003c/p>\n\u003cp>In perhaps the movie’s most effective scene, the two kids have put together a dance routine. The parents sit back proudly to watch, but repeatedly, Paddy stops the routine to admonish, brutally, his son, telling him he’s out of rhythm. McAvoy, a terrific actor who has made villainy part of his potent toolbox, is truly chilling as he becomes unhinged by his son’s inability to keep time.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quick. Has there ever been a horror film set in a country home with a decent cell signal?\u003c/p>\n\u003cp>Nope, and there’s no signal at Paddy and Ciara’s house, either, deep in the English countryside. Soon, that land line will be cut, too, but we’re getting ahead of ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Paddy and Ciara are that fun-but-somewhat-odd British couple whom Louise and Ben, early in \u003cem>Speak No Evil\u003c/em>, meet on their idyllic Tuscan family holiday. Americans based in London, Louise and Ben are at loose ends, with both job and relationship issues. And so, when the new acquaintances write to invite them for a country weekend, they decide to go.\u003c/p>\n\u003cp>After all, how bad could it be?\u003c/p>\n\u003cp>Don’t answer that. There are many such moments in the first two-thirds of \u003cem>Speak No Evil\u003c/em>, a Hollywood remake of the 2022 Danish film, here starring a deeply menacing James McAvoy. Moments where Louise and Ben, out of mere politeness and social convention, act against their instincts, which tell them something is wrong — very wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, \u003cem>Speak No Evil\u003c/em> becomes an entertaining but routine horror flick, with predictable results.\u003c/p>\n\u003cp>But for a while, it’s a way more intelligent film. And the jumpy moments work — I’ll confess to literally springing out of my seat when someone uneventfully turned on a power drill.\u003c/p>\n\u003cp>We begin in stunning Tuscany, where Louise (Mackenzie Davis, in the film’s most accessible and empathetic performance) and Ben (Scoot McNairy, all nerves and insecurity) are vacationing with 11-year-old daughter Agnes (Alix West Lefler). At the pool, they meet Paddy (McAvoy) and Ciara (Aisling Franciosi), a British couple with a disabled son, Ant, apparently born without a proper tongue.\u003c/p>\n\u003cp>One day in town, Paddy offers Agnes a ride on his Vespa. Louise is frightened to see her daughter disappear on the motorbike with a strange man, but it would be churlish to say no, right?\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/FjzxI6uf8H8'\n title='//www.youtube.com/embed/FjzxI6uf8H8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In briefly sketched backstories, we learn that Louise and Ben moved to London for Ben’s job, but he was soon downsized out. As for Paddy, all we know is he’s a doctor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At least, we think he is. The Americans, accepting the weekend invitation back in England, arrive at the secluded country home in dead of night. Immediately something feels off. The rooms are quirky but musty, the sheets stained. How can a doctor live like this, Louise asks? Ben brushes off her concern, quipping that even Downton Abbey is in terrible shape.\u003c/p>\n\u003cp>When the couple cooks dinner, Paddy proudly explains they’ve butchered their prize goose in their guests’ honor. He proffers Louise a forkful — even though he well knows she’s a vegetarian. Louise is disgusted but, politely, takes a bite.\u003c/p>\n\u003cp>Daughter Agnes, too, is freaked out. She’s being made to sleep on the floor next to Ant (Dan Hough, poignant in a role with no words.) And the next evening, when everyone dresses for a special dinner out, Paddy and Ciara inform Louise and Ben that the kids will stay home with a strange male babysitter. “We’ve had mannies before,” Ben tells Louise, unconvincingly.\u003c/p>\n\u003cp>Soon, though, we have the obligatory attempt to flee, followed by the “Oh no, we have to go back” moment — you know, where you’re yelling: “No!” But return the family does.\u003c/p>\n\u003cp>In perhaps the movie’s most effective scene, the two kids have put together a dance routine. The parents sit back proudly to watch, but repeatedly, Paddy stops the routine to admonish, brutally, his son, telling him he’s out of rhythm. McAvoy, a terrific actor who has made villainy part of his potent toolbox, is truly chilling as he becomes unhinged by his son’s inability to keep time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "actor-and-beloved-baritone-james-earl-jones-dies-at-93",
"title": "Actor and Beloved Baritone James Earl Jones Dies at 93",
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"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"title": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall",
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"content": "\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CoZqL9N6Rx4\u003c/p>\n\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=luWZENFNxoU\u003c/p>\n\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yvks3SeCDOs\u003c/p>\n\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4GTL2q9ueI4\u003c/p>\n\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_9CmC5Rmsdw\u003c/p>\n\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNlrGhBpYjc\u003c/p>\n\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9_nPeKnpfE\u003c/p>\n\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=67vbA5ZJdKQ\u003c/p>\n\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs\u003c/p>\n\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cY95YW-HVCM\u003c/p>\n\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc\u003c/p>\n\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p1HxTmV5i7c\u003c/p>\n\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wBMXS32KOQ4\u003c/p>\n\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGXA1utDS_o\u003c/p>\n\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nYPJIOF0ys4\u003c/p>\n\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3HupHq8-eE\u003c/p>\n\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4rgYUipGJNo\u003c/p>\n\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\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/CoZqL9N6Rx4'\n title='//www.youtube.com/embed/CoZqL9N6Rx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\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/luWZENFNxoU'\n title='//www.youtube.com/embed/luWZENFNxoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\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/Yvks3SeCDOs'\n title='//www.youtube.com/embed/Yvks3SeCDOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\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/4GTL2q9ueI4'\n title='//www.youtube.com/embed/4GTL2q9ueI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\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/_9CmC5Rmsdw'\n title='//www.youtube.com/embed/_9CmC5Rmsdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\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/LNlrGhBpYjc'\n title='//www.youtube.com/embed/LNlrGhBpYjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\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/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\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/j9_nPeKnpfE'\n title='//www.youtube.com/embed/j9_nPeKnpfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\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/67vbA5ZJdKQ'\n title='//www.youtube.com/embed/67vbA5ZJdKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\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/cY95YW-HVCM'\n title='//www.youtube.com/embed/cY95YW-HVCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\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/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\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/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\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/p1HxTmV5i7c'\n title='//www.youtube.com/embed/p1HxTmV5i7c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\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/wBMXS32KOQ4'\n title='//www.youtube.com/embed/wBMXS32KOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\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/PGXA1utDS_o'\n title='//www.youtube.com/embed/PGXA1utDS_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\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/nYPJIOF0ys4'\n title='//www.youtube.com/embed/nYPJIOF0ys4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\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/t3HupHq8-eE'\n title='//www.youtube.com/embed/t3HupHq8-eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\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/4rgYUipGJNo'\n title='//www.youtube.com/embed/4rgYUipGJNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beetlejuice-2024-review-tim-burton-sequel-winona-ryder-jenna-ortega-keaton-ohara",
"title": "Bring Your Global Entry Card — ‘Beetlejuice’ Sequel’s a Soul Train Ride to Comedy Joy",
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"content": "\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>[aside postid='arts_13958707']But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As-vKW4ZboU\u003c/p>\n\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>[aside postid='arts_13963648']Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>[aside postid='arts_13963688']Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>[aside postid='arts_13963123']And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"title": "‘Beetlejuice, Beetlejuice’ Review: Burton’s Joyous Sequel | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/As-vKW4ZboU'\n title='//www.youtube.com/embed/As-vKW4ZboU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Joe Hisaishi’s Studio Ghibli Music Soars at the San Francisco Symphony",
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"content": "\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13934544']Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>[aside postID='arts_13955606']On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Seeking Mavis Beacon’ Argues That Not Everyone Needs to Be Found",
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"content": "\u003cp>For certain generations of schoolchildren, the software \u003ca href=\"https://en.wikipedia.org/wiki/Mavis_Beacon_Teaches_Typing\">Mavis Beacon Teaches Typing\u003c/a> was \u003ci>the\u003c/i> gateway to a life spent clacking away at keyboards. For an hour or so each week, we would file into our school computer labs and learn about QWERTY, practice using the shift key and work on upping our WPM with a truly stressful speed typing exercise that involved outpacing a pursuing car and avoiding typos in the form of bug splats on the windshield. \u003c/p>\n\u003cp>[aside postID='arts_13962898']Mavis was our benevolent, if fictional, instructor. She beamed from the \u003ca href=\"https://www.allvideoclassicgames.com/cdn/shop/products/mavis_beacon2_box.jpg\">cover of the Software Toolworks packaging\u003c/a> as a rare sight in a world of technology dreamed up by white men in Silicon Valley garages: a Black woman of great knowledge and skill.\u003c/p>\n\u003cp>For director \u003ca href=\"https://www.jazminjones.com/\">Jazmin Jones\u003c/a> and her collaborator and associate producer \u003ca href=\"https://www.instagram.com/cyberdoula/?hl=en\">Olivia McKayla Ross\u003c/a>, Mavis Beacon is a hero, a symbol of their right to use and create technology. In this vein, their project to find the real woman who posed for the role of Mavis in 1987 — Haitian immigrant Renée L’Espérance — is a kind of mythical quest. \u003ci>\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>\u003c/i>, Jones’ excellent new documentary opening Sept. 6 at the Roxie, follows the pair’s attempts to find L’Espérance, honor her and eventually give her the respect and consideration she did not receive as Toolworks’ self-proclaimed “Betty Crocker.”\u003c/p>\n\u003cfigure id=\"attachment_13963740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg\" alt=\"Two Black women face each other across table in eclectically decorated space\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia McKayla Ross and Jazmin Jones in their West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed between 2020 and 2023, \u003ci>Seeking\u003c/i> is many things: a thrilling IRL investigation; an argument for representation in technology; a manifesto on cyberfeminism; a buddy film; a cross-country adventure; a pandemic-era story about separation and dislocation; and an ethical conundrum that plays out transparently, sensitively, in very real conversations. \u003c/p>\n\u003cp>“It’s about us on the road, finding ourselves [in a] coming-of-age journey,” Jones says. “Which is great because initially I thought I was just making a really brooding detective movie. And with Olivia’s involvement came the whimsy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first half of \u003ci>Seeking\u003c/i> has a kind of madcap momentum, fueled by Jones and Ross’ neon-hued build-out of their West Oakland investigation headquarters, their warm hang sessions and surreal man-on-the-street interviews about the lasting influence of Mavis Beacon. The pair are dressed fabulously throughout.\u003c/p>\n\u003cp>Between this footage, the documentary deploys a computer desktop view as an evidence board (though there’s a physical one of those too). Files and videos pop up and play in ingenious, fast-paced montage sequences. For those used to staring at a computer screen with too many tabs open, this presentation feels completely natural, and allows for delightful, wide-ranging references: a Stan Brakhage experimental film clip, a Sade interview about stepping back from fame. \u003c/p>\n\u003cfigure id=\"attachment_13963741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg\" alt=\"Black women stand around a circle of candles\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ritual conducted in Jones and Ross’ West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At roughly the midway point, a shift occurs. “We thought that the reason no one had spoken to Renée is because the right people hadn’t asked the right questions,” Jones says. But what if L’Espérance’s two-decade-plus absence from the public eye is actually a calculated move? We watch, in real time, as Jones and Ross reevaluate their own narrative understanding of the situation. \u003c/p>\n\u003cp>Tracking people down for the sake of feeding either nostalgia or collective curiosity has become a cottage industry in the realms of documentary film, podcasting and “where are they now” clickbait stories. Most of those offerings leave a icky aftertaste, but \u003ci>Seeking Mavis Beacon\u003c/i> stands apart, through the clear earnestness of its protagonists and the care they take to consider the ramifications of continuing their search.\u003c/p>\n\u003cp>By the end of the film, Jones and Ross have gone through something, and we’ve been right there along with them, examining our own impulses towards cut-and-dry answers and easily searchable results. The manifesto has shifted: people have the right to disappear.\u003c/p>\n\u003cp>“There was a really sweet young filmmaker at the beginning that was like, ‘We’re going to give her a platform that she never had, and she’s going to love us, and we’re going to be best friends and get the best interview ever,’” Jones says. “I’m really glad that I got to grow past that.”\u003c/p>\n\u003cp>The film’s great gift is that it models a new relationship to information, privacy and artmaking that is not only fun to watch, but just as instructive as a certain high-stakes typing test. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’ begins screening at the Roxie Theater (3117 16th St., San Francisco) on Sept. 6, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For certain generations of schoolchildren, the software \u003ca href=\"https://en.wikipedia.org/wiki/Mavis_Beacon_Teaches_Typing\">Mavis Beacon Teaches Typing\u003c/a> was \u003ci>the\u003c/i> gateway to a life spent clacking away at keyboards. For an hour or so each week, we would file into our school computer labs and learn about QWERTY, practice using the shift key and work on upping our WPM with a truly stressful speed typing exercise that involved outpacing a pursuing car and avoiding typos in the form of bug splats on the windshield. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mavis was our benevolent, if fictional, instructor. She beamed from the \u003ca href=\"https://www.allvideoclassicgames.com/cdn/shop/products/mavis_beacon2_box.jpg\">cover of the Software Toolworks packaging\u003c/a> as a rare sight in a world of technology dreamed up by white men in Silicon Valley garages: a Black woman of great knowledge and skill.\u003c/p>\n\u003cp>For director \u003ca href=\"https://www.jazminjones.com/\">Jazmin Jones\u003c/a> and her collaborator and associate producer \u003ca href=\"https://www.instagram.com/cyberdoula/?hl=en\">Olivia McKayla Ross\u003c/a>, Mavis Beacon is a hero, a symbol of their right to use and create technology. In this vein, their project to find the real woman who posed for the role of Mavis in 1987 — Haitian immigrant Renée L’Espérance — is a kind of mythical quest. \u003ci>\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>\u003c/i>, Jones’ excellent new documentary opening Sept. 6 at the Roxie, follows the pair’s attempts to find L’Espérance, honor her and eventually give her the respect and consideration she did not receive as Toolworks’ self-proclaimed “Betty Crocker.”\u003c/p>\n\u003cfigure id=\"attachment_13963740\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg\" alt=\"Two Black women face each other across table in eclectically decorated space\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill2_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia McKayla Ross and Jazmin Jones in their West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed between 2020 and 2023, \u003ci>Seeking\u003c/i> is many things: a thrilling IRL investigation; an argument for representation in technology; a manifesto on cyberfeminism; a buddy film; a cross-country adventure; a pandemic-era story about separation and dislocation; and an ethical conundrum that plays out transparently, sensitively, in very real conversations. \u003c/p>\n\u003cp>“It’s about us on the road, finding ourselves [in a] coming-of-age journey,” Jones says. “Which is great because initially I thought I was just making a really brooding detective movie. And with Olivia’s involvement came the whimsy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first half of \u003ci>Seeking\u003c/i> has a kind of madcap momentum, fueled by Jones and Ross’ neon-hued build-out of their West Oakland investigation headquarters, their warm hang sessions and surreal man-on-the-street interviews about the lasting influence of Mavis Beacon. The pair are dressed fabulously throughout.\u003c/p>\n\u003cp>Between this footage, the documentary deploys a computer desktop view as an evidence board (though there’s a physical one of those too). Files and videos pop up and play in ingenious, fast-paced montage sequences. For those used to staring at a computer screen with too many tabs open, this presentation feels completely natural, and allows for delightful, wide-ranging references: a Stan Brakhage experimental film clip, a Sade interview about stepping back from fame. \u003c/p>\n\u003cfigure id=\"attachment_13963741\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg\" alt=\"Black women stand around a circle of candles\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13963741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SMBstill5_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A ritual conducted in Jones and Ross’ West Oakland headquarters in a scene from ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At roughly the midway point, a shift occurs. “We thought that the reason no one had spoken to Renée is because the right people hadn’t asked the right questions,” Jones says. But what if L’Espérance’s two-decade-plus absence from the public eye is actually a calculated move? We watch, in real time, as Jones and Ross reevaluate their own narrative understanding of the situation. \u003c/p>\n\u003cp>Tracking people down for the sake of feeding either nostalgia or collective curiosity has become a cottage industry in the realms of documentary film, podcasting and “where are they now” clickbait stories. Most of those offerings leave a icky aftertaste, but \u003ci>Seeking Mavis Beacon\u003c/i> stands apart, through the clear earnestness of its protagonists and the care they take to consider the ramifications of continuing their search.\u003c/p>\n\u003cp>By the end of the film, Jones and Ross have gone through something, and we’ve been right there along with them, examining our own impulses towards cut-and-dry answers and easily searchable results. The manifesto has shifted: people have the right to disappear.\u003c/p>\n\u003cp>“There was a really sweet young filmmaker at the beginning that was like, ‘We’re going to give her a platform that she never had, and she’s going to love us, and we’re going to be best friends and get the best interview ever,’” Jones says. “I’m really glad that I got to grow past that.”\u003c/p>\n\u003cp>The film’s great gift is that it models a new relationship to information, privacy and artmaking that is not only fun to watch, but just as instructive as a certain high-stakes typing test. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’ begins screening at the Roxie Theater (3117 16th St., San Francisco) on Sept. 6, 2024.\u003c/i>\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": "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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"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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