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"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
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"content": "\u003cp>\u003ca href=\"https://www.kingmakersofoakland.org/\">Kingmakers of Oakland\u003c/a> (KOO) is an East Bay nonprofit best known for working with educators and kids to improve educational outcomes for young Black men. That the organization works hard to make that process as engaging, inventive and dope as possible gets less attention — but it’s a huge reason for KOO’s success.\u003c/p>\n\u003cp>On Feb. 23, KOO will finally let its ingeniously creative side shine bright — so bright, in fact, that it needs a big screen.\u003c/p>\n\u003cp>[aside postid='arts_13952570']Held at Oakland’s New Parkway Theater, the KOO Film Festival will honor Black History Month with 18 short films by people involved with the organization’s programs. With a mixture of music videos, behind-the-scenes making-of summaries, and profiles of educators and students who’ve and made a difference in their communities, the evening celebrates Black animators, musicians, creators and everyone who’s made Kingmakers of Oakland what it is.\u003c/p>\n\u003cp>One film in the program is the music video for “I’m a King,” an empowering three-minute anthem featuring \u003ca href=\"https://www.instagram.com/basi.sts/\">Basi\u003c/a>, \u003ca href=\"https://soundcloud.com/amc_510\">Amari\u003c/a>, \u003ca href=\"https://music.apple.com/us/artist/42k-lil/1426737083\">42k Lil\u003c/a> and \u003ca href=\"https://soundcloud.com/antihero510\">Anti Hero 510\u003c/a>. The accompanying visuals juxtapose historical figures like Martin Luther King, Marcus Garvey and Malcolm X with thriving young men working together and finding their power today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8sefV3bBMk4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track and video perfectly encapsulate the work that KOO does; certain lyrics even explain the importance of the organization’s mission. Sample: “I read this book on Marcus Garvey and I loved it / But the crazy thing about all them schools being public / Is that my teachers made it seem like all that Black lit was radical.”\u003c/p>\n\u003cp>“I’m a King” and the animated video “\u003ca href=\"https://www.youtube.com/watch?v=E8_ZVmtzsTQ\">Glisten\u003c/a>” — which also screens at the festival — are both taken from \u003cem>\u003ca href=\"https://open.spotify.com/album/1Ekg7wQkF21Kkr3CPt818t\">Full Royalty\u003c/a>, \u003c/em>a 14-track album by Kingmakers of Oakland that’s available to stream and download now.\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>The KOO Film Festival takes place Friday, Feb. 23, at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th Street, Oakland) at 5 p.m. \u003ca href=\"https://www.eventbrite.com/e/koo-film-festival-black-history-celebration-tickets-804078740157\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track and video perfectly encapsulate the work that KOO does; certain lyrics even explain the importance of the organization’s mission. Sample: “I read this book on Marcus Garvey and I loved it / But the crazy thing about all them schools being public / Is that my teachers made it seem like all that Black lit was radical.”\u003c/p>\n\u003cp>“I’m a King” and the animated video “\u003ca href=\"https://www.youtube.com/watch?v=E8_ZVmtzsTQ\">Glisten\u003c/a>” — which also screens at the festival — are both taken from \u003cem>\u003ca href=\"https://open.spotify.com/album/1Ekg7wQkF21Kkr3CPt818t\">Full Royalty\u003c/a>, \u003c/em>a 14-track album by Kingmakers of Oakland that’s available to stream and download now.\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>The KOO Film Festival takes place Friday, Feb. 23, at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th Street, Oakland) at 5 p.m. \u003ca href=\"https://www.eventbrite.com/e/koo-film-festival-black-history-celebration-tickets-804078740157\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’",
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"content": "\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>[aside postid='arts_13952488']The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1kI6nXntYN8\u003c/p>\n\u003cp>\u003cem>Part Two\u003c/em> primarily follows the rise of Paul Atreides ( Timothée Chalamet ), who, after seeing his father killed and House Atreides routed from the Arrakis capital by House Harkonnen and Baron Vladimir Harkonnen (a monstrously good Stellan Skarsgård), is now living among the Fremen, the desert-dwelling peoples of Arrakis, with his mother Lady Jessica (Rebecca Ferguson).\u003c/p>\n\u003cp>[aside postid='arts_13951896']The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>[aside postid='arts_13951772']Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>[aside postid='arts_13939927']There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1kI6nXntYN8'\n title='//www.youtube.com/embed/1kI6nXntYN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Part Two\u003c/em> primarily follows the rise of Paul Atreides ( Timothée Chalamet ), who, after seeing his father killed and House Atreides routed from the Arrakis capital by House Harkonnen and Baron Vladimir Harkonnen (a monstrously good Stellan Skarsgård), is now living among the Fremen, the desert-dwelling peoples of Arrakis, with his mother Lady Jessica (Rebecca Ferguson).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’",
"headTitle": "Bhutan Villagers Learn About Democracy (and Teach Us Too) in ‘The Monk and the Gun’ | KQED",
"content": "\u003cp>“Why are you teaching us to be so rude?” the elderly village woman asks a Bhutanese election official in \u003cem>The Monk and the Gun\u003c/em>.\u003c/p>\n\u003cp>It’s a question both poignant and biting, because the “teaching” this woman is resisting is something much of the outside world considers a basic human right: the right to vote.\u003c/p>\n\u003cp>[aside postid='arts_13952306']For a piercing refresher lesson on democracy, one wouldn’t necessarily think of rural Bhutan as the first place to look. For one thing, democratic elections only came to the tiny, long-isolated Himalayan kingdom in April 2007, when the country held its first mock vote, leading to the real thing late that year and then the first constitution in 2008.\u003c/p>\n\u003cp>Writer-director Pawo Choyning Dorji, whose debut feature, \u003cem>Lunana: A Yak in the Classroom\u003c/em>, went all the way to an Oscar nomination, centers his delightful, moving and clever new satire on a moment in 2006 when officials first fan out into the countryside to introduce this concept called “election.” TV and internet access are less than a decade old.\u003c/p>\n\u003cp>It does not go smoothly. “Is that a new pig disease?” asks one villager. Others arrive to register, only to discover they need to know their birthdate. Some do not. They’re told they need to leave and go find out. But really, many don’t see the point. They have a king. They like him. Why go to all this trouble?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>The Monk and the Gun\u003c/em>, as you may have surmised, is not just about democracy. It’s also about guns, and their role in society, a particularly fertile theme for Dorji’s brand of wry satire and pointed comparisons.\u003c/p>\n\u003cp>We begin with a young monk, Tashi, attendant to a lama, or spiritual leader, traversing a peaceful field to a mountain village, Ura. He’s on his way to hear an unusual request: The lama needs a gun. Or two. Before the full moon comes in a few days. “Things need to be made right,” he says, cryptically.\u003c/p>\n\u003cp>What could the lama mean? Guns are not a normal part of this society. If there’s a gun lying around, it’s a big deal. Which leads us to Ron Coleman, an American (Harry Einhorn), and his visit to Bhutan.\u003c/p>\n\u003cp>“Tell people you’re here to see Buddhist temples,” Ron’s host and fixer Benji (Tandin Sonam) tells him when he arrives. But Ron is there to procure, for a collector, a prized 19th-century American gun that somehow resides with a Bhutanese farmer.\u003c/p>\n\u003cp>[aside postid='arts_13951641']Dorji toggles between these two storylines: politics and guns, with the clock ticking to both the full moon and the mock election. It’s a tumultuous time, with news reports suggesting the transition to democracy is unpopular. As one man says, “What’s the use? We already have His Majesty.” Another wonders why they’d want to be like countries where politicians throw chairs at each other. The chief organizer has to remind people — including a mother whose daughter is being bullied at school — that in some countries, people die fighting for the right to vote.\u003c/p>\n\u003cp>Back to gun dealer Ron (his name is a little nod to cinema buffs who may recall the actor Ron Colman in 1937’s \u003cem>Lost Horizon\u003c/em>), who’s so eager to acquire the historic weapon, he offers the owner $75,000. That is not acceptable to the farmer — it’s too much! So a deal is struck for much less. But while Ron is off collecting the cash, the monk shows up, seeking a gun for his lama.\u003c/p>\n\u003cp>Who’ll get the gun? The rest of the plot is best left unspoiled, but you can be sure Dorji finds a way to tie his threads together in a way both comic and biting, both entertaining and provocative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NF0JChMz8Uc\u003c/p>\n\u003cp>A perfect example is that scene where election organizers are trying to educate the masses. With villagers gathered, they explain that different colors stand for different parties. But when they try to generate some obligatory back-and-forth — maybe just a little yelling — the effort falls flat. “Show some passion! You’re supposed to despise each other!” complains one official.\u003c/p>\n\u003cp>Also funny but queasy-making, too, is the way Ron is described by his Bhutanese cohort in an effort to gain respect for his knowledge of guns: “Mr. Ron is an expert. In his country there are more guns than people! “\u003c/p>\n\u003cp>[aside postid='arts_13951896']The casting of the film is fascinating in itself. Most of the cast (including Einhorn, an academic) are making acting debuts here. One, Tandin Wangchuk as Tashi, is a Bhutanese alt-rock star. The villagers in Ura are mostly actual villagers of Ura. The lama is indeed the actual (and only) village lama, Kelsang Choejay.\u003c/p>\n\u003cp>And it is he who keeps us all wondering: What the heck does he want with these guns? Dorji holds the suspense and finds a way to surprise us in a deeply satisfying way.\u003c/p>\n\u003cp>The director has said he simply hopes his home country — population about 790,000, known for its beauty and its official imperative of Gross National Happiness — has something to teach the rest of the world. “It’s not who we are,” that elderly woman says about the rudeness. It’s clear Dorji is hoping we’ll be looking at her, then ourselves, and wondering just who we are and want to be.\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>‘The Monk and the Gun’ was released nationwide on Feb. 9, 2024. It is currently playing at \u003ca href=\"https://www.amctheatres.com/movies/the-monk-and-the-gun-75465\">San Jose’s AMC Saratoga 14\u003c/a> theater.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Why are you teaching us to be so rude?” the elderly village woman asks a Bhutanese election official in \u003cem>The Monk and the Gun\u003c/em>.\u003c/p>\n\u003cp>It’s a question both poignant and biting, because the “teaching” this woman is resisting is something much of the outside world considers a basic human right: the right to vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For a piercing refresher lesson on democracy, one wouldn’t necessarily think of rural Bhutan as the first place to look. For one thing, democratic elections only came to the tiny, long-isolated Himalayan kingdom in April 2007, when the country held its first mock vote, leading to the real thing late that year and then the first constitution in 2008.\u003c/p>\n\u003cp>Writer-director Pawo Choyning Dorji, whose debut feature, \u003cem>Lunana: A Yak in the Classroom\u003c/em>, went all the way to an Oscar nomination, centers his delightful, moving and clever new satire on a moment in 2006 when officials first fan out into the countryside to introduce this concept called “election.” TV and internet access are less than a decade old.\u003c/p>\n\u003cp>It does not go smoothly. “Is that a new pig disease?” asks one villager. Others arrive to register, only to discover they need to know their birthdate. Some do not. They’re told they need to leave and go find out. But really, many don’t see the point. They have a king. They like him. Why go to all this trouble?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>The Monk and the Gun\u003c/em>, as you may have surmised, is not just about democracy. It’s also about guns, and their role in society, a particularly fertile theme for Dorji’s brand of wry satire and pointed comparisons.\u003c/p>\n\u003cp>We begin with a young monk, Tashi, attendant to a lama, or spiritual leader, traversing a peaceful field to a mountain village, Ura. He’s on his way to hear an unusual request: The lama needs a gun. Or two. Before the full moon comes in a few days. “Things need to be made right,” he says, cryptically.\u003c/p>\n\u003cp>What could the lama mean? Guns are not a normal part of this society. If there’s a gun lying around, it’s a big deal. Which leads us to Ron Coleman, an American (Harry Einhorn), and his visit to Bhutan.\u003c/p>\n\u003cp>“Tell people you’re here to see Buddhist temples,” Ron’s host and fixer Benji (Tandin Sonam) tells him when he arrives. But Ron is there to procure, for a collector, a prized 19th-century American gun that somehow resides with a Bhutanese farmer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dorji toggles between these two storylines: politics and guns, with the clock ticking to both the full moon and the mock election. It’s a tumultuous time, with news reports suggesting the transition to democracy is unpopular. As one man says, “What’s the use? We already have His Majesty.” Another wonders why they’d want to be like countries where politicians throw chairs at each other. The chief organizer has to remind people — including a mother whose daughter is being bullied at school — that in some countries, people die fighting for the right to vote.\u003c/p>\n\u003cp>Back to gun dealer Ron (his name is a little nod to cinema buffs who may recall the actor Ron Colman in 1937’s \u003cem>Lost Horizon\u003c/em>), who’s so eager to acquire the historic weapon, he offers the owner $75,000. That is not acceptable to the farmer — it’s too much! So a deal is struck for much less. But while Ron is off collecting the cash, the monk shows up, seeking a gun for his lama.\u003c/p>\n\u003cp>Who’ll get the gun? The rest of the plot is best left unspoiled, but you can be sure Dorji finds a way to tie his threads together in a way both comic and biting, both entertaining and provocative.\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/NF0JChMz8Uc'\n title='//www.youtube.com/embed/NF0JChMz8Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A perfect example is that scene where election organizers are trying to educate the masses. With villagers gathered, they explain that different colors stand for different parties. But when they try to generate some obligatory back-and-forth — maybe just a little yelling — the effort falls flat. “Show some passion! You’re supposed to despise each other!” complains one official.\u003c/p>\n\u003cp>Also funny but queasy-making, too, is the way Ron is described by his Bhutanese cohort in an effort to gain respect for his knowledge of guns: “Mr. Ron is an expert. In his country there are more guns than people! “\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The casting of the film is fascinating in itself. Most of the cast (including Einhorn, an academic) are making acting debuts here. One, Tandin Wangchuk as Tashi, is a Bhutanese alt-rock star. The villagers in Ura are mostly actual villagers of Ura. The lama is indeed the actual (and only) village lama, Kelsang Choejay.\u003c/p>\n\u003cp>And it is he who keeps us all wondering: What the heck does he want with these guns? Dorji holds the suspense and finds a way to surprise us in a deeply satisfying way.\u003c/p>\n\u003cp>The director has said he simply hopes his home country — population about 790,000, known for its beauty and its official imperative of Gross National Happiness — has something to teach the rest of the world. “It’s not who we are,” that elderly woman says about the rudeness. It’s clear Dorji is hoping we’ll be looking at her, then ourselves, and wondering just who we are and want to be.\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>‘The Monk and the Gun’ was released nationwide on Feb. 9, 2024. It is currently playing at \u003ca href=\"https://www.amctheatres.com/movies/the-monk-and-the-gun-75465\">San Jose’s AMC Saratoga 14\u003c/a> theater.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’",
"headTitle": "J.Lo’s Very Wacky, Very Wild, Very J.Lo Journey to Love in ‘This Is Me … Now’ | KQED",
"content": "\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>[aside postid='pop_21655']All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Osu2N9gysYk&t=38s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>[aside postid='pop_98212']Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>[aside postid='arts_13952322']This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\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>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\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/Osu2N9gysYk'\n title='//www.youtube.com/embed/Osu2N9gysYk'\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>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\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>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zZ_vkS1R_I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\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/7zZ_vkS1R_I'\n title='//www.youtube.com/embed/7zZ_vkS1R_I'\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> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
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"content": "\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>[aside postid='arts_13951958']Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JlyYimV6Qqw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iCNMXENmOpk\u003c/p>\n\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>[aside postid='arts_13880441']A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>[aside postid='arts_13914487']That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>[aside postid='arts_13951641']“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\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/JlyYimV6Qqw'\n title='//www.youtube.com/embed/JlyYimV6Qqw'\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>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\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/iCNMXENmOpk'\n title='//www.youtube.com/embed/iCNMXENmOpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
"headTitle": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special | KQED",
"content": "\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>[aside postid='arts_13852729']Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go–Gzu_qGg\u003c/p>\n\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>[aside postid='arts_13938421']Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\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>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\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/Go'\n title='//www.youtube.com/embed/Go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\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>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
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"content": "\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>[aside postid='arts_13951751']It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_76M4c4LTo\u003c/p>\n\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\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\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\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\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>[aside postID='arts_13951535']The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \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>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \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>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Taste of Things\u003c/em> should come with a warning: Audiences may be tempted to abandon work as they know it and start a beautiful, calm new life in the French countryside devoted to the culinary arts.\u003c/p>\n\u003cp>[aside postid='arts_13951641']There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKKCGtoIOVY\u003c/p>\n\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>[aside postid='arts_13950994']There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\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>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\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/cKKCGtoIOVY'\n title='//www.youtube.com/embed/cKKCGtoIOVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\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>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>[aside postid='arts_13951126']This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=POOeA3zCuUY\u003c/p>\n\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>[aside postid='arts_81994']Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>[aside postid='arts_13951535']He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HTgWYojq-z8\u003c/p>\n\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>[aside postid='arts_13951078']That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\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>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n",
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
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