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"content": "\u003cp>Know how you can tell if women’s sports has finally broken into the American mainstream consciousness? When your 82-year-old grandmother-in-law tells you, “They’ve been showing a lot more girls basketball on television these days.”\u003c/p>\n\u003cp>With viewership for women’s basketball at an all-time high, \u003cem>Power of the Dream\u003c/em> — Amazon’s new documentary directed by Dawn Porter that highlights the WNBA’s fight for equity and representation — arrives at an apex moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13957833']\u003c/span>Offering a candid look into the off-court activism of WNBAers during the COVID-ravaged 2020 season — as players mourn the loss of Black lives due to police violence and get involved in the Georgia senatorial race — the film isn’t what you’d expect from a basketball joint. There’s virtually no dribbling in it, and very little action about the sport itself. (Perhaps that’s communicated in the title, which is more poetic than it is athletic).\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='news_11986061']\u003c/span>And yet, this isn’t a polished look at the league’s imperviousness. It’s about the ugliness of pro sports in America: the struggles that even the world’s most successful, elite basketballers face, their battles to impact greater social change, and their sacrifices to improve conditions for marginalized communities, all while juggling their own needs that aren’t being met as a unionized workforce of 144 employees.\u003c/p>\n\u003cp>With a mix of news clips, original documentary footage, and interviews with notable sports journalists and WNBA icons (including Angel McCoughtry, Layshia Clarendon, and Elizabeth Williams), the film shows multiple dimensions of player-led change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13956931']\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\n\u003cp>https://twitter.com/sportsiren/status/1298883521327566854\u003c/p>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>\u003ci>Copyright 2024 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Copyright 2024 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>[aside postID='arts_13957326']The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>[aside postID='arts_13951535']“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
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"content": "\u003cp>Amid the current crop of summer movies, I can’t think of one that captures the \u003cem>feeling\u003c/em> of summer more evocatively than \u003cem>Janet Planet. \u003c/em>Much of the story takes place in a rustic house in woodsy Western Massachusetts; by day, sunlight streams in through enormous windows, and at night, chirping crickets flood the soundtrack. The celebrated playwright Annie Baker, here writing and directing her first film, has uncanny powers of observation and a talent for evoking time and place. She also has two memorable lead characters and a sharply funny and moving story to tell.\u003c/p>\n\u003cp>It’s the summer of 1991. The story begins when 11-year-old Lacy, played by the terrific newcomer Zoe Ziegler, calls her mom from camp and demands to be taken home early; her exact words are “I’m gonna kill myself if you don’t come get me.”\u003c/p>\n\u003cp>[aside postid='arts_13960332']Lacy is a shy misfit with big owlish glasses and a flair for deadpan exaggeration. She and her single mom, Janet, who’s played by a subtly luminous Julianne Nicholson, are extremely close, as we can see when Janet duly comes to fetch Lacy and bring her home. Later at their house, Janet puts Lacy to bed and listens to her vent.\u003c/p>\n\u003cp>Baker isn’t one to hurry her characters along. Her plays — the best known of which is her Pulitzer-winning 2013 drama, \u003cem>The Flick\u003c/em> — have been justly praised for bringing a new kind of naturalism to the stage, especially in the way the actors retain the stammers and silences of normal conversation. She brings that same sensibility to \u003cem>Janet Planet\u003c/em>.\u003c/p>\n\u003cp>Baker includes a few loving nods to her background in theater; at various points, Lacy plays with a small puppet theater, complete with handmade clay figurines, and in a later scene, she and Janet attend an outdoor performance featuring actors in elaborate costumes. But the movie never feels stagey. It was shot on 16-millimeter film by Maria von Hausswolff, who previously filmed the visually stunning Icelandic drama \u003cem>Godland\u003c/em>, and her use of natural light and precise, fine-grained details feel transportingly cinematic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_aBF_v0gvpQ\u003c/p>\n\u003cp>The movie is divided into three loose chapters, each one focused on a friend or significant other of Janet’s who becomes a houseguest for a spell. First up is her boyfriend Wayne, played by a gruff Will Patton, who has a daughter around Lacy’s age but doesn’t take too kindly to Lacy herself. He’s soon out the door.\u003c/p>\n\u003cp>In the second chapter we meet Regina, played by a wonderful Sophie Okonedo, a free-spirited drifter who comes to stay with Janet and Lacy after leaving a local hippie commune — basically a cult, though everyone is careful not to use that word. Regina initially brings a breath of fresh air into the house, though she proves insensitive and tactless, especially around Janet, and soon overstays her welcome.\u003c/p>\n\u003cp>[aside postid='arts_13960151']The third houseguest — Avi, played by Elias Koteas — is Regina’s ex-partner and the leader of that hippie commune. Avi is the most mysterious presence in the movie, and it’s through his short-lived relationship with Janet that we fully grasp how profoundly unhappy she is.\u003c/p>\n\u003cp>The title \u003cem>Janet Planet\u003c/em> has many meanings — it’s the name of the acupuncture studio that Janet operates out of the house. It’s also a passing reference to the nickname that \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\" target=\"15396571\" rel=\"noopener\">Van Morrison\u003c/a> gave the songwriter Janet Rigsbee, who inspired a lot of his love songs during their five-year marriage. But the title is most meaningful as it frames our understanding of Janet, whose quiet magnetism really does seem to draw other people, especially men, into her orbit. As we see in Nicholson’s heartbreaking performance, it’s been as much a curse as it is a blessing.\u003c/p>\n\u003cp>One of the movie’s subtlest achievements is the way it clues us into Janet’s perspective, even as it keeps Janet herself at a bit of a distance. Much of the time we’re studying Janet through Lacy’s eyes, and what’s uncanny is the way Baker captures a sense of the girl’s growing disillusionment — that intensely specific moment when a child begins to see even a doting parent in a clear and not always flattering new light. By the end of \u003cem>Janet Planet\u003c/em>, not much has happened, and yet something momentous seems to have taken place. You want Baker to return to these characters, to show us how Janet and Lacy continue to change and grow, together and apart, in the years — and the summers — to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Janet Planet’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid the current crop of summer movies, I can’t think of one that captures the \u003cem>feeling\u003c/em> of summer more evocatively than \u003cem>Janet Planet. \u003c/em>Much of the story takes place in a rustic house in woodsy Western Massachusetts; by day, sunlight streams in through enormous windows, and at night, chirping crickets flood the soundtrack. The celebrated playwright Annie Baker, here writing and directing her first film, has uncanny powers of observation and a talent for evoking time and place. She also has two memorable lead characters and a sharply funny and moving story to tell.\u003c/p>\n\u003cp>It’s the summer of 1991. The story begins when 11-year-old Lacy, played by the terrific newcomer Zoe Ziegler, calls her mom from camp and demands to be taken home early; her exact words are “I’m gonna kill myself if you don’t come get me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lacy is a shy misfit with big owlish glasses and a flair for deadpan exaggeration. She and her single mom, Janet, who’s played by a subtly luminous Julianne Nicholson, are extremely close, as we can see when Janet duly comes to fetch Lacy and bring her home. Later at their house, Janet puts Lacy to bed and listens to her vent.\u003c/p>\n\u003cp>Baker isn’t one to hurry her characters along. Her plays — the best known of which is her Pulitzer-winning 2013 drama, \u003cem>The Flick\u003c/em> — have been justly praised for bringing a new kind of naturalism to the stage, especially in the way the actors retain the stammers and silences of normal conversation. She brings that same sensibility to \u003cem>Janet Planet\u003c/em>.\u003c/p>\n\u003cp>Baker includes a few loving nods to her background in theater; at various points, Lacy plays with a small puppet theater, complete with handmade clay figurines, and in a later scene, she and Janet attend an outdoor performance featuring actors in elaborate costumes. But the movie never feels stagey. It was shot on 16-millimeter film by Maria von Hausswolff, who previously filmed the visually stunning Icelandic drama \u003cem>Godland\u003c/em>, and her use of natural light and precise, fine-grained details feel transportingly cinematic.\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/_aBF_v0gvpQ'\n title='//www.youtube.com/embed/_aBF_v0gvpQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie is divided into three loose chapters, each one focused on a friend or significant other of Janet’s who becomes a houseguest for a spell. First up is her boyfriend Wayne, played by a gruff Will Patton, who has a daughter around Lacy’s age but doesn’t take too kindly to Lacy herself. He’s soon out the door.\u003c/p>\n\u003cp>In the second chapter we meet Regina, played by a wonderful Sophie Okonedo, a free-spirited drifter who comes to stay with Janet and Lacy after leaving a local hippie commune — basically a cult, though everyone is careful not to use that word. Regina initially brings a breath of fresh air into the house, though she proves insensitive and tactless, especially around Janet, and soon overstays her welcome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The third houseguest — Avi, played by Elias Koteas — is Regina’s ex-partner and the leader of that hippie commune. Avi is the most mysterious presence in the movie, and it’s through his short-lived relationship with Janet that we fully grasp how profoundly unhappy she is.\u003c/p>\n\u003cp>The title \u003cem>Janet Planet\u003c/em> has many meanings — it’s the name of the acupuncture studio that Janet operates out of the house. It’s also a passing reference to the nickname that \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\" target=\"15396571\" rel=\"noopener\">Van Morrison\u003c/a> gave the songwriter Janet Rigsbee, who inspired a lot of his love songs during their five-year marriage. But the title is most meaningful as it frames our understanding of Janet, whose quiet magnetism really does seem to draw other people, especially men, into her orbit. As we see in Nicholson’s heartbreaking performance, it’s been as much a curse as it is a blessing.\u003c/p>\n\u003cp>One of the movie’s subtlest achievements is the way it clues us into Janet’s perspective, even as it keeps Janet herself at a bit of a distance. Much of the time we’re studying Janet through Lacy’s eyes, and what’s uncanny is the way Baker captures a sense of the girl’s growing disillusionment — that intensely specific moment when a child begins to see even a doting parent in a clear and not always flattering new light. By the end of \u003cem>Janet Planet\u003c/em>, not much has happened, and yet something momentous seems to have taken place. You want Baker to return to these characters, to show us how Janet and Lacy continue to change and grow, together and apart, in the years — and the summers — to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Janet Planet’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>[aside postid='arts_13960151']There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-WIb4ATfT8\u003c/p>\n\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13960332']Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\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/E-WIb4ATfT8'\n title='//www.youtube.com/embed/E-WIb4ATfT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Kinds of Kindness’ Is a Bleak Triptych of Tortured Souls",
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"content": "\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one would mistake one of Francis Bacon’s triptychs for a dose of painterly realism. \u003ci>\u003ca href=\"https://www.guggenheim.org/artwork/293\">Three Studies for a Crucifixion\u003c/a>\u003c/i> is a portrait of a soul, or souls, in distress. The series of contorted bodies dripping with intestinal gore are recognizable as human artifacts — the exhausted aftermath of lives undone by an array of physical and psychological torments.\u003c/p>\n\u003cp>In Yorgos Lanthimos’ \u003ci>Kinds of Kindness\u003c/i>, the director has made his own harrowing triptych: a starched, unblinking look at a variety of souls pressed together and blessed with the capacity to cause harm and induce grief. When Annie Lennox starts singing “\u003ca href=\"https://youtu.be/qeMFqkcPYcg?feature=shared\">Sweet Dreams (Are Made of This)\u003c/a>” over the opening sequence, Lanthimos announces the movie’s theme with characteristic bluntness. Everybody’s looking for someone to use and abuse — or wants to be used and abused.\u003c/p>\n\u003cp>In three distinct segments, each with its own subtitle, Lanthimos foregrounds abusers with malevolent or sadistic imaginations. Their victims are both willing and unwilling. These roles are unfixed: the seven main actors reappear in each storyline as different characters, swapping power dynamics.\u003c/p>\n\u003cfigure id=\"attachment_13960154\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg\" alt=\"Two people on couch, one lays with head in the other's lap\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_b-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hong Chau and Jesse Plemons in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many films structure their narrative arcs around a struggle between good and evil, Lanthimos begins \u003ci>Kinds of Kindness\u003c/i>, as he does most of his films, after goodness has already surrendered. His characters have been bled dry of pure intentions. He builds an unbearable amount of tension in long takes, just to see how bad things can get. The body, and the spirit housed within it, will not triumph. Lanthimos is there to zoom in on his characters’ parallel states of decay.\u003c/p>\n\u003cp>In the first segment, Robert (Jesse Plemons) deliberately crashes his SUV into another car. The next day at work, we meet Robert’s employer Raymond (Willem Dafoe), their conversation a brittle confrontation between supplicant and omnipotent master. For a decade, Raymond has provided Robert with a written list of instructions that dictate his daily life, including what food he eats and when he can have sex with his wife Sarah (Hong Chau).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Robert visits Raymond’s home to beg off a second car crash, Dafoe, with a measured degree of glee and malevolence, slips into the role of an exacting film director. He repeatedly asks Robert to reenact his scripted entrance into the living room.\u003c/p>\n\u003cfigure id=\"attachment_13960158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg\" alt=\"Person stands in parking lot looking up, person in wheelchair nearby\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kinds_e-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone in ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part two amps up the series of absurd situations by implying that a police officer’s wife (Emma Stone) is an imposter, a supernatural replacement. When her shoes no longer fit, her husband (Plemons) becomes suspicious. His theory is confirmed when, at his request, she’s willing to cut off one of her fingers, cook it and then serve it to him for dinner with a side of roasted cauliflower.\u003c/p>\n\u003cp>Self-mutilation and homemade pornography make up the middle section of the film; rape, kidnapping, suicide and a cult dedicated to free love form the basis of part three. Car crashes open and close the trio. (In all this darkness, it’s a wonder Lanthimos manages to avoid bestiality, incest and pedophilia.)\u003c/p>\n\u003cp>In Lanthimos’ last film, \u003ci>Poor Things\u003c/i>, Gothic trappings and a fisheye lens made it easy for viewers to categorize it as a fable. It’s the dialogue in \u003ci>Kinds of Kindness\u003c/i>, not the costumes, set design or camera angles, that signals the film’s increasing sense of menace. The actors’ stiff, affectless line readings aren’t meant to conjure up relatable emotions. Lanthimos empowers his actors to forsake the conscience and moral center of the characters they play.\u003c/p>\n\u003cfigure id=\"attachment_13960078\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png\" alt=\"A man and woman stand side-by-side behind a large outdoor receptacle of water. There are a few women standing behind them.\" width=\"1470\" height=\"972\" class=\"size-full wp-image-13960078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-20-at-3.45.46-PM-768x508.png 768w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone and Jesse Plemons play cult members in one story segment from ‘Kinds of Kindness.’ \u003ccite>(Atsushi Nishijima/Fox Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the film, Jerskin Fendrix’s plangent piano soundtrack haunts Plemons’ three characters, but little else connects his roles. The entire cast of multiple selves are unified solely by their raw and unyielding appetites. Like Francis Bacon, Lanthimos favors a brutal vision of humanity that makes realistic portraiture pale in comparison.\u003c/p>\n\u003cp>The three parts of \u003ci>Kinds of Kindness\u003c/i> add up to a theater of cruelty that should appeal to nihilists, pessimists and anyone willing to indulge in 165 minutes of unremitting bleakness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kinds of Kindness’ opens in Bay Area theaters on Friday, June 28, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>[aside postid='arts_13959268']\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PJrr2amlFyc\u003c/p>\n\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>[aside postid='arts_13960040']It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film — and not the fun kind.\u003c/p>\n\u003cp>\u003cem>Thelma\u003c/em>, starring June Squibb, is not one of those.\u003c/p>\n\u003cp>In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of \u003cem>Thelma\u003c/em>, the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.\u003c/p>\n\u003cp>[aside postid='arts_13959577']Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a \u003cem>Mission: Impossible\u003c/em>-style journey, \u003cem>Thelma\u003c/em> transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.\u003c/p>\n\u003cp>Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>[aside postid='arts_13959801']Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of \u003cem>The White Lotus\u003c/em>) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.\u003c/p>\n\u003cp>That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ‘60s-inspired score by Nick Chuba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.\u003c/p>\n\u003cp>They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.\u003c/p>\n\u003cp>But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thelma’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>[aside postID='arts_13957326']McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For longtime political observers and students of California history, Alix Blair’s sublime documentary \u003cem>Helen and the Bear\u003c/em> (receiving its U.S. premiere Sunday, June 23 at the Vogue in \u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco’s long-running LGBTQ+ film festival) has an irresistible hook: The titular co-star is Rep. Pete McCloskey. \u003c/p>\n\u003cp>The eight-term congressman from San Mateo County — a product of Stanford (undergraduate and law) and a decorated Marine (the Korean War) — was the rare Republican who opposed the Vietnam War. That was his central issue when he challenged incumbent President Richard Nixon in the 1972 New Hampshire primary. The following year, amid the Watergate scandal, McCloskey was the first member of Congress to call for Nixon’s impeachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCloskey is in his 90s when \u003cem>Helen and the Bear\u003c/em> begins, but still a formidable figure. He remains politically involved, telephoning allies and staying up late watching election returns. But the documentary’s engine is its complicated and compelling heroine, the force of nature named Helen Hooper McCloskey.\u003c/p>\n\u003cp>Helen, Alix Blair writes in the production notes, was the cool California aunt her family would spend half a day with during their annual summer visit from Chicago. Aunt Helen’s nickname was The Hellion, though one wonders just how much the conservative Midwesterners knew about the love affairs and cocaine that Helen discloses in the film.\u003c/p>\n\u003cfigure id=\"attachment_13960050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg\" alt=\"Man and woman stand smiling on beach with names written below photograph\" width=\"2000\" height=\"1862\" class=\"size-full wp-image-13960050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-800x745.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1020x950.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-768x715.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1536x1430.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_4_Creased_Photograph_2000-1920x1788.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Helen and Pete McCloskey. \u003ccite>(Courtesy of Helen and Pete McCloskey’s personal archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her 20s, Helen got a job on McCloskey’s staff working on abortion rights and environmental legislation. He had a wife and four children but was devoted to the job above all; a few years after his divorce, Pete and Helen became a couple and married, notwithstanding an age difference of some 25 years. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is all colorful and fascinating background, which Blair and editor Katrina Taylor periodically and artfully dispense in often-impressionistic collages of home movies, newsreel excerpts, still photographs and Helen’s journal entries. (In one simple yet effective wide shot, a TV sitting in the couple’s empty living room beams an old interview with Pete, bringing to life the ghosts that reside in their farmhouse’s walls.) \u003c/p>\n\u003cp>Blair and her collaborators make the risky but correct decision not to waste her extraordinary access on a boilerplate biographical piece. Helen and Pete’s past informs their present, of course, and Helen occasionally thinks about the road not taken, but the film’s thematic and emotional focus is the dynamic of a long-term love affair.\u003c/p>\n\u003cp>While this is the universal stuff of relationships, it is nonetheless a risky subject. \u003cem>Helen and the Bear\u003c/em> is at times a working-on-the-farm film, a travelogue and a portrait of elder care. Blair opts not to manipulate and massage the material to create or inflate the drama, conflict and narrative thrust that we typically want and expect from movies. \u003cem>Helen and the Bear\u003c/em> is an unusual film, therefore, that invites and demands the audience’s willingness to reflect on their own relationships.\u003c/p>\n\u003cfigure id=\"attachment_13960049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg\" alt=\"Older woman in desert with dramatic sky behind\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13960049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Helen_and_the_Bear_2_Desert_Sunset-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Helen in the New Mexico desert. \u003ccite>(Alix Blair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may be wondering, right about now, why Frameline is showing a movie about a 40-year heterosexual marriage. In her 30s and 40s, Helen had serious affairs with women. They were authentic expressions of her identity and sexuality, though they were also a response to being left alone by a workaholic husband. Pete criticized Helen at the time for her adultery (his word); it’s unclear if he was completely faithful during this period.\u003c/p>\n\u003cp>Ultimately, they remain unequivocally devoted to each other as they go about their days on the organic farm they operated for three decades. (Pete’s passing, in May of this year at 96, occurs off-screen, which leaves us remembering \u003cem>Helen and the Bear\u003c/em> as a sun-dappled tale of life and death.)\u003c/p>\n\u003cp>I see Frameline’s inclusion of \u003cem>Helen and the Bear\u003c/em> as a marker of how queer film festivals have evolved. In the beginning, representations of gay and lesbian identity (in its various forms) were limited (as in rare) and proscribed (as in positive). The range of relationships, and the nuance with which they can be depicted, are both much greater today. \u003c/p>\n\u003cp>To put it another way, the world has evolved and Frameline reflects the current and ongoing reality.\u003c/p>\n\u003cp>Like every other film, \u003cem>Helen and the Bear\u003c/em> is informed by the viewer’s life experiences. Some will wallow in the echoes of the hungover ’70s. Others will be cast back to a time when “principled Republican” was not an oxymoron. And other viewers will revisit their various love and sexual relationships from a more, uh, mature perspective.\u003c/p>\n\u003cp>And you will interpret and judge — and yes, admire — Helen for her choices, her commitment and her integrity. \u003cem>Helen and the Bear\u003c/em> is as rewarding as it is rare.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.frameline.org/films/frameline48/helen-and-the-bear\">Helen and the Bear\u003c/a>’ screens as part of Frameline48 on Sunday, June 23 at 2:15 p.m. at the Vogue Theatre (3290 Sacramento St., San Francisco). Tickets are currently at rush.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Bikeriders,’ the Birth of a Subculture on Two Wheels",
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"content": "\u003cp>Still images have been a source of wonder and mythology in the films of Jeff Nichols.\u003c/p>\n\u003cp>[aside postid='arts_13959899']\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70&t=10s\u003c/p>\n\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy (Jodie Comer) bookend and sporadically narrate the movie.\u003c/p>\n\u003cp>[aside postid='arts_13959796']Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>[aside postid='arts_13959670']Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mud,\u003c/em> Nichols’ Twain-soaked Mississippi fable, seemed derived from the magical sight of a boat held aloft by a tree. \u003cem>Loving\u003c/em>, about a ’60s interracial marriage, took inspiration from tender \u003cem>Life\u003c/em> magazine photographs taken of the real-life couple. Nichols’ latest, \u003cem>The Bikeriders\u003c/em>, is based on photographer Danny Lyon’s 1968 book of the same name, for which he spent four years with a Chicago motorcycle club.\u003c/p>\n\u003cp>It’s not hard to see what Nichols saw in Lyon’s black-and-white stills. There’s the stylish raw materials — the chrome bikes, the slicked back hair, the black leather jackets. But there’s also a just emerging antiauthoritarian, easy-riding spirit and camaraderie. Like the central figures of \u003cem>Loving\u003c/em>, they are classically drawn outsiders who encapsulate something glorious and uneasy about freedom in America.\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the exhilarating first half of \u003cem>The Bikeriders\u003c/em>, which opens in theaters Friday, Nichols is less compelled to build a narrative around his bike gang, the Vandals (based on the Outlaws) than summoning an intoxicating atmosphere reminiscent of those old photographs. \u003cem>The Bikeriders\u003c/em> eventually becomes saddled with heavier plot mechanics — you can almost sense his riders growing weary from having to strap narrative devices onto their bikes. The movie wants to ride, but it’s not sure how much story to pack for the trip. But this is a vivid dramatization of the birth of an American subculture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The framing device Nichols settles on is Lyon, himself, played by Mike Faist, who’s conducting interviews for his book. His conversations with a woman named Kathy (Jodie Comer) bookend and sporadically narrate the movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy, also based on a real person, seems at first an unlikely spokesperson for the gang. She speaks with a thick Illinois accent (an actorly distraction throughout) and has no affection for motorcycle riders. But one night at a bar, she sees Benny (Austin Butler) across the smokey room and, even if she doesn’t admit it at that moment, falls for him. Again, it’s not hard to see why. Butler is by now well removed from Elvis Presley but the suppleness with which he can sink into mid-century America is no less apparent. Benny drives Kathy home, parks his bike outside the place and patiently waits for her boyfriend to skip town.\u003c/p>\n\u003cp>Nichols, a devotee of films like \u003cem>Hud\u003c/em> and \u003cem>Cool Hand Luke\u003c/em>, is a filmmaker who works very consciously within classic American idioms. In Butler he has his James Dean, making Tom Hardy his Marlon Brando. Hardy plays Johnny, Benny’s best pal and the one who starts up and presides over the Vandals. (The “whaddya got” clip of Brando from \u003cem>The Wild One\u003c/em> is even briefly seen on a small TV in \u003cem>The Bikeriders\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13960012\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png\" alt=\"A man stands with an unlit cigarette dangling from his mouth. At his side, a second man wearing a leather jacket.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-19-at-10.40.00-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Damon Herriman and Tom Hardy in a scene from ‘The Bikeriders.’ \u003ccite>(Focus Features via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Vandals, as a club, start about as simply as kids might call a tree house to order. They’re a bunch of guys who like riding motorcycles and like talking about them. Simple as that. But men come like moths to a flame, attracted by the tough lifestyle, the cool jackets with patches and a way out of mainstream America. Among them are Cal (Boyd Holbrook), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus) and Zipco (Michael Shannon).\u003c/p>\n\u003cp>“Obscenity and motorcycles travel hand in hand,” someone says, with pride.\u003c/p>\n\u003cp>The early days of the group are, it would seem, a lot of fun. Barroom brawls and riding carefree through corn fields. Most of these guys don’t have much, but they have each other. And their loyalty is total.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kathy isn’t so sure sure. She watches the growing gang — a completely male bunch — with skepticism and fear for Benny. (In a scene teased in the film’s opening, he’s beaten badly enough to be hospitalized.) Sometimes, they throw down purely for fun. They are the original Fight Cub.\u003c/p>\n\u003cp>But soon, Kathy isn’t the only one with doubts at what they’ve created. As their gang grows, what the Vandals embody is less clear, even to Johnny and Benny. Some of the new entrants are coming straight back from Vietnam. Their old hijinks give way to more serious crimes. In one chastening scene, Kathy finds herself very nearly assaulted by its members. The gang — and all its posturing of toughness — begins to feel more like a trap for even its leader. Benny is drawn into a choice between the Vandals and Kathy. The homoerotic subtext is understated but not ignored; when Benny and Johnny discuss their future together, they do it gently and intimately, in the dark, like a secret confession.\u003c/p>\n\u003cp>As the Vandals’ original ideals disintegrate, it can feel like \u003cem>The Bikeriders\u003c/em> gets locked into a familiar \u003cem>Goodfellas\u003c/em>-like structure, but with a telling shift in narrator for a drama that’s ultimately about masculinity. This is a movie that’s juggling a lot of contradictory ambitions. It wants to be authentic but it wants to tell a grand America saga. It wants mythology but also naturalism. It’s those instincts that have made Nichols one of the most essential filmmakers of his generation, even if the results have sometimes been underwhelming by a hair. Even his best, most firmly rooted films (\u003cem>Take Shelter\u003c/em>, \u003cem>Mud\u003c/em>) strive for a balancing act that can be elusive.\u003c/p>\n\u003cp>But I think it’s those dual impulses — and, again, all the cool jackets — that makes \u003cem>The Bikeriders\u003c/em> work. The movie is unabashedly romantic about the Vandals but it’s equally dubious about the rugged masculinity they embody, too. \u003cem>The Bikeriders\u003c/em> has its hands firmly on the throttle just it does the brakes.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Bikeriders’ is released nationwide on June 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lgbtq-comedians-new-netflix-documentary-review-outstanding-comedy-revolution",
"title": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
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"headTitle": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy | KQED",
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"content": "\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>[aside postid='arts_13959601']A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dEZX9LNX3BA\u003c/p>\n\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>[aside postid='arts_13959827']As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>[aside postid='arts_13958734']Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\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/dEZX9LNX3BA'\n title='//www.youtube.com/embed/dEZX9LNX3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>[aside postid='arts_13959801']\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jnCefPQIH98\u003c/p>\n\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>[aside postid='arts_13959670']All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>[aside postid='arts_13959577']But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0&t=15s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>[aside postid='arts_13958728']I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The 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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"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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"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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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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