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"title": "Experimental Animations Relocate from YBCA to Shapeshifters Cinema",
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"content": "\u003cp>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>[aside postID='arts_13954119']But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">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>Since October 2023, there’s been more activity than usual in Yerba Buena Center for the Arts’ screening room, where independent programmer Gina Basso (\u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\">formerly of SFMOMA\u003c/a>) has organized a rotating film series to accompany the museum’s regional survey \u003ci>Bay Area Now 9\u003c/i>. Partnerships with \u003ca href=\"https://www.sfcinematheque.org/\">SF Cinematheque\u003c/a>, \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, \u003ca href=\"https://www.kearnystreet.org/\">Kearny Street Workshop\u003c/a> and \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a> have brought an exciting array of locally made, experimental, contemporary and historical films to a space that’s been underutilized since the \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">sudden dismissal of YBCA’s entire film staff\u003c/a> in 2018.\u003c/p>\n\u003cp>Local film buffs had hoped this revival could become permanent, dreaming of regular film programming at YBCA even after the run of \u003ci>BAN 9\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now the screening room sits quiet once again, with Leah Rosenberg’s newly commissioned work, \u003ci>\u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, cut short in the middle of a live performance on Feb. 15, the museum’s response to \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">eight \u003ci>BAN 9\u003c/i> artists altering their work\u003c/a> in a pro-Palestinian protest action. YBCA kept its doors shut for a solid month.\u003c/p>\n\u003cfigure id=\"attachment_13954389\" class=\"wp-caption aligncenter\" style=\"max-width: 859px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg\" alt=\"Purple and pink wavy lines behind a cartoonish person with hand over face\" width=\"859\" height=\"657\" class=\"size-full wp-image-13954389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still.jpg 859w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Abedifard_Gharbzadegi_still-768x587.jpg 768w\" sizes=\"(max-width: 859px) 100vw, 859px\">\u003cfigcaption class=\"wp-caption-text\">Yasmeen Abedifard, still from ‘Gharbzadegi,’ 2019. \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists from Basso’s March program — a slate of experimental and expanded animation works — now have no interest in showing at a reopened YBCA. Instead, \u003ci>\u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">This Room is Nothing Without You\u003c/a>\u003c/i>, featuring work by \u003ca href=\"https://meghanabisineer.com/\">Meghana Bisineer\u003c/a>, \u003ca href=\"https://www.lydiagreer.com/\">Lydia Greer\u003c/a>, \u003ca href=\"https://www.kathleenquillian.com/\">Kathleen Quillian\u003c/a> and \u003ca href=\"https://www.jeremyrourke.com/\">Jeremy Rourke\u003c/a>, will take place at Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters Cinema\u003c/a> on Saturday, March 23, along with short animations by Iranian American artist \u003ca href=\"https://www.yasmeenabedifard.net/\">Yasmeen Abedifard\u003c/a> and Palestinian artist \u003ca href=\"https://www.instagram.com/olabarakat00/?hl=en\">Ola Abdel Latif Barakat\u003c/a>.\u003c/p>\n\u003cp>“It became, how could we take this program that we worked hard on and we designed — how could we do something as a response not only to what YBCA did,” Basso says, “but how could we raise money and give it to Gaza?” (Proceeds from the night’s ticket sales will go towards humanitarian aid in Gaza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basso took a collaborative approach to much of the film programming for \u003ci>BAN 9\u003c/i>, but in this instance, the artists have created something else altogether. “They’ve really got this energy and excitement of working together,” Basso says. “In this iteration I’ve been very on the outer rings of this endeavor.” She and Kathleen Maguire, the former director of public and educational programs at YBCA, will be present on Saturday for a post-screening talk with the artists.\u003c/p>\n\u003cfigure id=\"attachment_13954390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg\" alt=\"Projected images of clocktower on scrim with person looking down on overhead projector behind\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Greer-Robber-Bridegroom_still_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Greer, from a live performance of ‘Robber Bridegroom.’ \u003ccite>(Courtesy of the artist and Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocation to Shapeshifters is one way unsurprising (Quillian is the programming director for the microcinema), but Basso would love for this trend to continue. She hopes to find the other programs — including Rosenberg’s half-seen commission — new homes as well. The film series was originally scheduled to run for the length of \u003ci>BAN 9\u003c/i>, through May 5.\u003c/p>\n\u003cp>How YBCA might now fill that screening room is an open question. The artists and filmmakers Basso was working with on future programming also no longer want to show at YBCA. “There’s trepidation for sure,” she says. “They wanted to stand in solidarity with the [\u003ci>BAN 9\u003c/i>] artists.” For Basso, working for YBCA on a hyper-local level, collaborating with Bay Area artists, distributors, programmers and archives, is just no longer possible. \u003c/p>\n\u003cp>“To lose the opportunity of that space and that place for film, \u003ci>again\u003c/i>,” she sighs, referencing the 2018 “haitus” of YBCA’s in-house program. “It was getting there and people were like, ‘Yay, it’s back!’”\u003c/p>\n\u003cp>But when our large local arts institutions flounder, it’s the artist-run spaces like Shapeshifters that match their mission statements with actions — and can provide space for the conversations that moments like these require.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Room is Nothing Without You’ screens at Shapeshifters Cinema (567 5th St., Oakland) on Saturday, March 23, 6–9 p.m. \u003ca href=\"https://shop.shapeshifterscinema.com/product/this-room-is-nothing-without-you-experimental-and-expanded-animation/360\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’",
"headTitle": "Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’ | KQED",
"content": "\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>[aside postid='arts_13954333']She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sDhsfV7r_1w\u003c/p>\n\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>[aside postid='arts_13953248']But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\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/sDhsfV7r_1w'\n title='//www.youtube.com/embed/sDhsfV7r_1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tE7h_TJkxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>[aside postid='arts_13954225']On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>[aside postid='arts_13954104']But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>[aside postid='arts_13938155']But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951078']“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
"headTitle": "Jake Gyllenhaal’s ‘Road House’ Remake Is … Surprisingly Good? | KQED",
"content": "\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13953248']“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ZsLudtfjI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>[aside postid='arts_13951144']“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13953601']Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\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/Y0ZsLudtfjI'\n title='//www.youtube.com/embed/Y0ZsLudtfjI'\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>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history",
"title": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
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"headTitle": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach | KQED",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Empowerment and exploitation commingle in an entertaining new documentary about the legendary North Beach dancer.",
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"title": "‘Carol Doda: Topless at the Condor’ Review: Glitz, Grime, ’60s SF | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\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/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’",
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"content": "\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_nFuJAF5F0\u003c/p>\n\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9G-PA1oMPI\u003c/p>\n\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>[aside postid='arts_13953524']We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>[aside postid='arts_13953601']As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\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/6_nFuJAF5F0'\n title='//www.youtube.com/embed/6_nFuJAF5F0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\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/P9G-PA1oMPI'\n title='//www.youtube.com/embed/P9G-PA1oMPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
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"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
"headTitle": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken | KQED",
"content": "\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d07lNlkn0Ug\u003c/p>\n\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Hj7QG7TLuc\u003c/p>\n\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VhWqpvGq6b4\u003c/p>\n\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>[aside postid='arts_13953817']Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\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/d07lNlkn0Ug'\n title='//www.youtube.com/embed/d07lNlkn0Ug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\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/1Hj7QG7TLuc'\n title='//www.youtube.com/embed/1Hj7QG7TLuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\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/VhWqpvGq6b4'\n title='//www.youtube.com/embed/VhWqpvGq6b4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: The Complete List of Winners",
"headTitle": "Oscars 2024: The Complete List of Winners | KQED",
"content": "\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13938158']WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931577']WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931543']WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953777']WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931753']WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953477']WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 96th Academy Awards aired on ABC on Sunday night. Here's the full list of 2024 nominees, with winners marked in bold.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Oscars",
"headTitle": "Red Carpet Looks From the 2024 Oscars | KQED",
"content": "\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-768x1123.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Diane Warren. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2074533233-scaled-e1710128297727.jpg\" alt=\"A white man and an Asian man, both wearing tuxedos gesture wildly next to two elderly Asian women, both wearing dark sunglasses and flamboyant suits.\" width=\"1920\" height=\"1331\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang, Zhang Li Hua, Sam Davis and Yi Yan Fuei. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out the most memorable ensembles from Hollywood’s biggest night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-768x1123.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Diane Warren. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2074533233-scaled-e1710128297727.jpg\" alt=\"A white man and an Asian man, both wearing tuxedos gesture wildly next to two elderly Asian women, both wearing dark sunglasses and flamboyant suits.\" width=\"1920\" height=\"1331\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang, Zhang Li Hua, Sam Davis and Yi Yan Fuei. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback",
"headTitle": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>[aside postid='arts_13950821']In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>[aside postid='arts_13953424']At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You ever fall for some clickbait, and later find out it’s actually a heartwarming example of intergenerational connection and the beautiful legacy of Oakland?\u003c/p>\n\u003cp>It’s the darnedest thing, and it happened to me earlier this week.\u003c/p>\n\u003cp>After the social media accounts for \u003ca href=\"https://www.instagram.com/thereallennywilliams/\" target=\"_blank\" rel=\"noopener\">Lenny Williams\u003c/a>, famed singer and former frontman for the funk band Tower of Power, dropped a video for his new song, “She Took My Drawers,” I was on the other end of the internet starring at my phone in disbelief.\u003c/p>\n\u003cp>Wha… \u003cem>Why\u003c/em>? Why would the legendary vocalist who brought the world timeless songs like “‘Cause I Love You” and “So Very Hard To Go” be singing about extramarital affairs and blackmail via stolen underwear!?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=50pd7t1C__E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s first verse establishes that the protagonist had fallen asleep in a hotel bed with a woman who is not his wife, and woken up alone. In short order, he realizes that the woman took his underwear before she left, and she begins to threaten to post them online.\u003c/p>\n\u003cp>These are not just any ordinary underwear, according to the second verse:\u003c/p>\n\u003cblockquote>\u003cp>These boxers are special, a gift from my wife to me\u003cbr>\nAs a symbol of our love on our 21st anniversary\u003cbr>\nHad her picture on the front, and mine on the back\u003cbr>\nLawd have mercy, I’m ’bout to have me a heart attack\u003c/p>\u003c/blockquote>\n\u003cp>Who wrote this? Who put this together? Whose idea was this?\u003c/p>\n\u003cp>I felt bad for watching it. Then, naturally, I shared it through a few texts and social media posts. I got ready to move onto the next meme, chalking it all up to Lenny Williams entering his ‘do it for the gram’ phase, when a few folks scattered across the country hit me up. They had questions too — “Why?” being the main one.\u003c/p>\n\u003cp>So I reached out to Lenny Williams’ social media account, and within five minutes I heard back from someone who said we’d met a couple of times over the years — a guy by the name of Dwayne Davis — Lenny Williams’ grandson and main representative.\u003c/p>\n\u003cfigure id=\"attachment_13953644\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png\" alt=\"Dwayne Davis as a baby, sitting poolside as his grandfather Lenny Williams stands in the pool with his arms holding onto the young child.\" width=\"1234\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-800x686.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-1020x875.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-768x658.png 768w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis as a baby, sitting poolside, with his grandfather Lenny Williams. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/dwaynekhyridavis/\" target=\"_blank\" rel=\"noopener\">Dwayne\u003c/a>! In 2019, he was a senior at McClymonds High School, we talked about \u003ca href=\"https://www.kqed.org/arts/13876171/what-students-are-saying-about-mcclymonds-closure\" target=\"_blank\" rel=\"noopener\">the school’s closure due to trichloroethylene (TCE)\u003c/a> in the groundwater. We crossed paths again in 2021 when I hosted a panel discussion for Pete Nicks’ documentary film about the Oakland Unified School District, \u003ca href=\"https://www.kqed.org/arts/13901157/a-grand-lake-homecoming-for-pete-nicks-homeroom\" target=\"_blank\" rel=\"noopener\">\u003cem>Homeroom\u003c/em>\u003c/a>; Dwayne was one of the co-stars of the film.\u003c/p>\n\u003cp>And now look at him, after internships with powerhouse media companies \u003ca href=\"https://www.proximitymedia.com/\" target=\"_blank\" rel=\"noopener\">Proximity Media\u003c/a>, \u003ca href=\"https://www.xtr.com/\" target=\"_blank\" rel=\"noopener\">XTR Media\u003c/a> and \u003ca href=\"https://www.staymacro.com/\" target=\"_blank\" rel=\"noopener\">MACRO\u003c/a>, as well as a stint with \u003ca href=\"https://wacotheatercenter.com/\" target=\"_blank\" rel=\"noopener\">WACO Theatre\u003c/a>, founded by Richard and Tina Knowles-Lawson, Dwayne landed in Los Angeles. Now he’s managing artists, including his grandfather on his mom’s side.\u003c/p>\n\u003cp>Not only is he representing Williams behind the scenes, he also played the role of young Lenny in the music video for “She Took My Drawers.”\u003c/p>\n\u003cfigure id=\"attachment_13953667\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png\" alt=\"A black and white photos of Salina T. and Dwayne Davis boo'd up as they play their roles on the set of Lenny Williams' "She Took My Drawers" music video.\" width=\"3000\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-800x434.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1020x554.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-768x417.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1536x834.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-2048x1111.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1920x1042.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Salina T. and Dwayne Davis boo’d up as they play their roles on the set of Lenny Williams’ ‘She Took My Drawers’ music video. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a phone call, Dwayne confirms that Lenny did indeed write the song, with assistance from Derek “DOA” Allen. The video was directed by another family member, Jamal Josef.\u003c/p>\n\u003cp>“It’s had mixed reception online,” Dwayne tells me. There have been some negative comments, but friends, family and fans at shows seem to love it.\u003c/p>\n\u003cp>“It’s raunchy and fun,” Dwayne says, adding that it’s a nod to the storytelling style of modern southern soul, something that Lenny has been experimenting with while currently on tour with artists like \u003ca href=\"https://www.instagram.com/tuckakingofswing/?hl=en\" target=\"_blank\" rel=\"noopener\">Tucka\u003c/a> and \u003ca href=\"https://www.instagram.com/bigpokeybearjsp/?hl=en\">Pokey Bear\u003c/a> (whose similarly themed song “\u003ca href=\"https://www.youtube.com/watch?v=d7Mxkap8XNc\" target=\"_blank\" rel=\"noopener\">My Side Piece\u003c/a>” has 68 million views on YouTube).\u003c/p>\n\u003cp>Still, Dwayne confirms, “People are stunned that it’s the same man who sang “‘Cause I Love You.” Dwayne says seeing the audience’s reaction is one thing, but traveling with his grandfather on tour is a whole story within itself.\u003c/p>\n\u003cp>“I learn so much, experience so much, and every show is a quick turnaround,” says Dwayne, adding that they only do performances on the weekend, and stay in each city for less than 24 hours: “We’re usually on the first flight in and first flight out.” The majority of the shows are in the south or on the east coast.\u003c/p>\n\u003cfigure id=\"attachment_13953662\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg\" alt=\"Dwayne Davis wears a red tie and an a dark blazer as he poses for a photoshoot with Jamal Josef.\" width=\"1284\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-800x1017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1208x1536.jpg 1208w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis. \u003ccite>(Hadassah McGrew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Meeting artists, promoters and fans around the country has been life-changing,” says Dwayne, a 21 year-old who aspires to be in the entertainment industry. “I feel like I’m getting my bearings and learning how everything works.”\u003c/p>\n\u003cp>When Dwayne was six, he recalls being on a big boat with friends and family, taking photos with his grandfather. Moments later, Grandpa was on stage as \u003cem>the\u003c/em> \u003cem>Lenny Williams\u003c/em>. “Seeing the crowd so entertained, it was a foundational moment; that’s when it clicked,” says Dwayne. “Not just him being who he is, but that I wanted to be up there too. I wanted to entertain.”\u003c/p>\n\u003cp>Dwayne is on his path, but he knows he’s got a lot of ground to cover to match the legacy of his grandfather, who was inducted into the \u003ca href=\"https://www.freep.com/story/entertainment/music/2017/02/23/rb-hall-fame-announces-2017-inductees/98307788/\" target=\"_blank\" rel=\"noopener\">Rhythm and Blues Hall of Fame\u003c/a> in 2017.\u003c/p>\n\u003cp>“He’s my biggest motivation in human form,” says Dwayne, humbly. “I want to make him proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lenny Williams performs Friday, March 15, at the Paramount Theatre in Oakland as part of the 2024 Blues Is Alright Tour. \u003ca href=\"https://www.paramountoakland.org/events/detail/the-blues-is-alright-tour\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You ever fall for some clickbait, and later find out it’s actually a heartwarming example of intergenerational connection and the beautiful legacy of Oakland?\u003c/p>\n\u003cp>It’s the darnedest thing, and it happened to me earlier this week.\u003c/p>\n\u003cp>After the social media accounts for \u003ca href=\"https://www.instagram.com/thereallennywilliams/\" target=\"_blank\" rel=\"noopener\">Lenny Williams\u003c/a>, famed singer and former frontman for the funk band Tower of Power, dropped a video for his new song, “She Took My Drawers,” I was on the other end of the internet starring at my phone in disbelief.\u003c/p>\n\u003cp>Wha… \u003cem>Why\u003c/em>? Why would the legendary vocalist who brought the world timeless songs like “‘Cause I Love You” and “So Very Hard To Go” be singing about extramarital affairs and blackmail via stolen underwear!?\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/50pd7t1C__E'\n title='//www.youtube.com/embed/50pd7t1C__E'\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>The song’s first verse establishes that the protagonist had fallen asleep in a hotel bed with a woman who is not his wife, and woken up alone. In short order, he realizes that the woman took his underwear before she left, and she begins to threaten to post them online.\u003c/p>\n\u003cp>These are not just any ordinary underwear, according to the second verse:\u003c/p>\n\u003cblockquote>\u003cp>These boxers are special, a gift from my wife to me\u003cbr>\nAs a symbol of our love on our 21st anniversary\u003cbr>\nHad her picture on the front, and mine on the back\u003cbr>\nLawd have mercy, I’m ’bout to have me a heart attack\u003c/p>\u003c/blockquote>\n\u003cp>Who wrote this? Who put this together? Whose idea was this?\u003c/p>\n\u003cp>I felt bad for watching it. Then, naturally, I shared it through a few texts and social media posts. I got ready to move onto the next meme, chalking it all up to Lenny Williams entering his ‘do it for the gram’ phase, when a few folks scattered across the country hit me up. They had questions too — “Why?” being the main one.\u003c/p>\n\u003cp>So I reached out to Lenny Williams’ social media account, and within five minutes I heard back from someone who said we’d met a couple of times over the years — a guy by the name of Dwayne Davis — Lenny Williams’ grandson and main representative.\u003c/p>\n\u003cfigure id=\"attachment_13953644\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png\" alt=\"Dwayne Davis as a baby, sitting poolside as his grandfather Lenny Williams stands in the pool with his arms holding onto the young child.\" width=\"1234\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-800x686.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-1020x875.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-768x658.png 768w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis as a baby, sitting poolside, with his grandfather Lenny Williams. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/dwaynekhyridavis/\" target=\"_blank\" rel=\"noopener\">Dwayne\u003c/a>! In 2019, he was a senior at McClymonds High School, we talked about \u003ca href=\"https://www.kqed.org/arts/13876171/what-students-are-saying-about-mcclymonds-closure\" target=\"_blank\" rel=\"noopener\">the school’s closure due to trichloroethylene (TCE)\u003c/a> in the groundwater. We crossed paths again in 2021 when I hosted a panel discussion for Pete Nicks’ documentary film about the Oakland Unified School District, \u003ca href=\"https://www.kqed.org/arts/13901157/a-grand-lake-homecoming-for-pete-nicks-homeroom\" target=\"_blank\" rel=\"noopener\">\u003cem>Homeroom\u003c/em>\u003c/a>; Dwayne was one of the co-stars of the film.\u003c/p>\n\u003cp>And now look at him, after internships with powerhouse media companies \u003ca href=\"https://www.proximitymedia.com/\" target=\"_blank\" rel=\"noopener\">Proximity Media\u003c/a>, \u003ca href=\"https://www.xtr.com/\" target=\"_blank\" rel=\"noopener\">XTR Media\u003c/a> and \u003ca href=\"https://www.staymacro.com/\" target=\"_blank\" rel=\"noopener\">MACRO\u003c/a>, as well as a stint with \u003ca href=\"https://wacotheatercenter.com/\" target=\"_blank\" rel=\"noopener\">WACO Theatre\u003c/a>, founded by Richard and Tina Knowles-Lawson, Dwayne landed in Los Angeles. Now he’s managing artists, including his grandfather on his mom’s side.\u003c/p>\n\u003cp>Not only is he representing Williams behind the scenes, he also played the role of young Lenny in the music video for “She Took My Drawers.”\u003c/p>\n\u003cfigure id=\"attachment_13953667\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png\" alt=\"A black and white photos of Salina T. and Dwayne Davis boo'd up as they play their roles on the set of Lenny Williams' "She Took My Drawers" music video.\" width=\"3000\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-800x434.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1020x554.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-768x417.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1536x834.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-2048x1111.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1920x1042.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Salina T. and Dwayne Davis boo’d up as they play their roles on the set of Lenny Williams’ ‘She Took My Drawers’ music video. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a phone call, Dwayne confirms that Lenny did indeed write the song, with assistance from Derek “DOA” Allen. The video was directed by another family member, Jamal Josef.\u003c/p>\n\u003cp>“It’s had mixed reception online,” Dwayne tells me. There have been some negative comments, but friends, family and fans at shows seem to love it.\u003c/p>\n\u003cp>“It’s raunchy and fun,” Dwayne says, adding that it’s a nod to the storytelling style of modern southern soul, something that Lenny has been experimenting with while currently on tour with artists like \u003ca href=\"https://www.instagram.com/tuckakingofswing/?hl=en\" target=\"_blank\" rel=\"noopener\">Tucka\u003c/a> and \u003ca href=\"https://www.instagram.com/bigpokeybearjsp/?hl=en\">Pokey Bear\u003c/a> (whose similarly themed song “\u003ca href=\"https://www.youtube.com/watch?v=d7Mxkap8XNc\" target=\"_blank\" rel=\"noopener\">My Side Piece\u003c/a>” has 68 million views on YouTube).\u003c/p>\n\u003cp>Still, Dwayne confirms, “People are stunned that it’s the same man who sang “‘Cause I Love You.” Dwayne says seeing the audience’s reaction is one thing, but traveling with his grandfather on tour is a whole story within itself.\u003c/p>\n\u003cp>“I learn so much, experience so much, and every show is a quick turnaround,” says Dwayne, adding that they only do performances on the weekend, and stay in each city for less than 24 hours: “We’re usually on the first flight in and first flight out.” The majority of the shows are in the south or on the east coast.\u003c/p>\n\u003cfigure id=\"attachment_13953662\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg\" alt=\"Dwayne Davis wears a red tie and an a dark blazer as he poses for a photoshoot with Jamal Josef.\" width=\"1284\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-800x1017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1208x1536.jpg 1208w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis. \u003ccite>(Hadassah McGrew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Meeting artists, promoters and fans around the country has been life-changing,” says Dwayne, a 21 year-old who aspires to be in the entertainment industry. “I feel like I’m getting my bearings and learning how everything works.”\u003c/p>\n\u003cp>When Dwayne was six, he recalls being on a big boat with friends and family, taking photos with his grandfather. Moments later, Grandpa was on stage as \u003cem>the\u003c/em> \u003cem>Lenny Williams\u003c/em>. “Seeing the crowd so entertained, it was a foundational moment; that’s when it clicked,” says Dwayne. “Not just him being who he is, but that I wanted to be up there too. I wanted to entertain.”\u003c/p>\n\u003cp>Dwayne is on his path, but he knows he’s got a lot of ground to cover to match the legacy of his grandfather, who was inducted into the \u003ca href=\"https://www.freep.com/story/entertainment/music/2017/02/23/rb-hall-fame-announces-2017-inductees/98307788/\" target=\"_blank\" rel=\"noopener\">Rhythm and Blues Hall of Fame\u003c/a> in 2017.\u003c/p>\n\u003cp>“He’s my biggest motivation in human form,” says Dwayne, humbly. “I want to make him proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lenny Williams performs Friday, March 15, at the Paramount Theatre in Oakland as part of the 2024 Blues Is Alright Tour. \u003ca href=\"https://www.paramountoakland.org/events/detail/the-blues-is-alright-tour\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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