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"content": "\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13953248']“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ZsLudtfjI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>[aside postid='arts_13951144']“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13953601']Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’",
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"content": "\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_nFuJAF5F0\u003c/p>\n\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9G-PA1oMPI\u003c/p>\n\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>[aside postid='arts_13953524']We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>[aside postid='arts_13953601']As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6_nFuJAF5F0'\n title='//www.youtube.com/embed/6_nFuJAF5F0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P9G-PA1oMPI'\n title='//www.youtube.com/embed/P9G-PA1oMPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
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"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
"headTitle": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken | KQED",
"content": "\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d07lNlkn0Ug\u003c/p>\n\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Hj7QG7TLuc\u003c/p>\n\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VhWqpvGq6b4\u003c/p>\n\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>[aside postid='arts_13953817']Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d07lNlkn0Ug'\n title='//www.youtube.com/embed/d07lNlkn0Ug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Hj7QG7TLuc'\n title='//www.youtube.com/embed/1Hj7QG7TLuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VhWqpvGq6b4'\n title='//www.youtube.com/embed/VhWqpvGq6b4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: The Complete List of Winners",
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"content": "\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13938158']WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931577']WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931543']WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953777']WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931753']WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953477']WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Oscars",
"headTitle": "Red Carpet Looks From the 2024 Oscars | KQED",
"content": "\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-768x1123.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Diane Warren. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2074533233-scaled-e1710128297727.jpg\" alt=\"A white man and an Asian man, both wearing tuxedos gesture wildly next to two elderly Asian women, both wearing dark sunglasses and flamboyant suits.\" width=\"1920\" height=\"1331\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang, Zhang Li Hua, Sam Davis and Yi Yan Fuei. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out the most memorable ensembles from Hollywood’s biggest night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s show started an hour earlier, at 4 p.m. at the Dolby Theatre in Los Angeles with Jimmy Kimmel hosting. This was Kimmel’s fourth time hosting the show, his first time being back in 2017.\u003c/p>\n\u003cp>Some of the top nominations included \u003cem>Oppenheimer\u003c/em> with 13 nominations and \u003cem>Killers of the Flower Moon\u003c/em> ties \u003cem>Poor Things\u003c/em> with 10. Two of the performances tonight were an ode to \u003cem>Barbie\u003c/em> with Ryan Gosling singing “I’m Just Ken” and Billie Eilish and Finneas O’Connell performing “What Was I Made For.”\u003c/p>\n\u003cp>Here are some of the most memorable red carpet looks from the evening.\u003c/p>\n\u003cfigure id=\"attachment_13953778\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953778\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg\" alt=\"An Indigenous woman wears a strapless purple gown and jewels.\" width=\"1686\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-scaled.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307241_custom-0ef79334839986465e1b7b305ff5c29d656ebb99-1920x2915.jpg 1920w\" sizes=\"(max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953779\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg\" alt=\"A white woman in a strapless white gown with a large padded frill around her waist.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074219825_custom-0668992d9006a0dbf6d68e52b402983fe8faa176-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953780\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg\" alt=\"A white blond man stands stands, wearing a black suit and shirt that's unbuttoned to the middle of his chest.\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1020x1513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074251252_custom-7c3f44802ec973e8a6cd8516bbcbf983798680d4-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Gosling. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953781\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg\" alt=\"A white woman with blond hair wears a strapless polka dotted gown and matching wrap.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-scaled.jpg 1705w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074307223_custom-72c666057775b2d3e0c9f72b8ddafc12ea793e8c-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lawrence. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953782\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953782\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg\" alt=\"A young, very slender Black woman stands poised, wering a grey strapless gown with pink floral details.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074313207_custom-707b70f3407660504ddd37b0bbad51e282e4f9a8-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953783\" class=\"wp-caption aligncenter\" style=\"max-width: 1952px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg\" alt=\"An Indigenous man with long braided hair stands poised wearing a black suit and shirt and a turquoise bolo tie.\" width=\"1952\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-scaled.jpg 1952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1020x1338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-768x1007.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1171x1536.jpg 1171w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1561x2048.jpg 1561w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074245383_custom-3b034ff2e21fa3f376a3106fefc91e7079aa1f58-1920x2519.jpg 1920w\" sizes=\"(max-width: 1952px) 100vw, 1952px\">\u003cfigcaption class=\"wp-caption-text\">William Belleau. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953784\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg\" alt=\"A white woman wearing a structured white tightly fitted gown.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074225577_custom-ea41ca7105410c33fe38192fdc46f84328f4c2f7-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Emily Blunt. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953785\" class=\"wp-caption aligncenter\" style=\"max-width: 1756px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg\" alt=\"A dainty white woman with blond hair wears a tight pink strapless dress with a huge, puffy pink wrap.\" width=\"1756\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-scaled.jpg 1756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-800x1167.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1020x1487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-768x1120.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1053x1536.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1404x2048.jpg 1404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074324275_custom-95bd38307d3dacf2ae413401982b85a9242cad53-1920x2800.jpg 1920w\" sizes=\"(max-width: 1756px) 100vw, 1756px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953786\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg\" alt=\"A curvy Black woman stands wearing a strapless black gown with high leg slit.\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074212895_custom-8246268a2bcb334cc74d32cfcea09b5aeb7bc003-1920x2888.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks. \u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953787\" class=\"wp-caption aligncenter\" style=\"max-width: 1651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg\" alt=\"A Latina with short dark hair wearing a structured, sequined pink gown, \" width=\"1651\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-scaled.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-800x1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1020x1581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-768x1191.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-991x1536.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1321x2048.jpg 1321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183463_custom-d9b7b640a45991f34cdd845eacd034944f924c96-1920x2977.jpg 1920w\" sizes=\"(max-width: 1651px) 100vw, 1651px\">\u003cfigcaption class=\"wp-caption-text\">America Ferrera. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953788\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg\" alt=\"A bald Black man wearing glasses and a neat grey beard gestures on a red carpet. He's wearing a tuxedo.\" width=\"1752\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-scaled.jpg 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-800x1169.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1020x1490.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-768x1122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1051x1536.jpg 1051w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1402x2048.jpg 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2066791258_custom-63856b99ddf8beb6bfc3a05bfc3e9fb207f3929c-1920x2805.jpg 1920w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright. \u003ccite>(DAVID SWANSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953789\" class=\"wp-caption aligncenter\" style=\"max-width: 1912px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg\" alt=\"A young white woman with long black hair wears a formal white shirt, black jacket and tweed skirt.\" width=\"1912\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-scaled.jpg 1912w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-800x1071.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-768x1028.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1147x1536.jpg 1147w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1530x2048.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074183985_custom-bb2c4d60d39bd7f8a60d248a7e672199ca471358-1920x2570.jpg 1920w\" sizes=\"(max-width: 1912px) 100vw, 1912px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953790\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg\" alt=\"A bald Black woman with septum piercing strikes a pose in a green evening gown with large shoulder detailing.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074195470_custom-396a09ca42b52cf233ccceb1cda5733bf7ccf69a-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953791\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg\" alt=\"An Asian woman in a black suit stands with an Asian man in a bergundy tuxedo. They are both gesturing to the camera.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074168286_custom-ed9edb22134677e0aae6d2b132d00c13280f226f-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Echo Quan and Ke Huy Quan. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953792\" class=\"wp-caption aligncenter\" style=\"max-width: 1785px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg\" alt=\"A Latina poses in a tight, off the shoulder gown.\" width=\"1785\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-scaled.jpg 1785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-800x1147.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1020x1463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-768x1101.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1071x1536.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1428x2048.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-20741229751_custom-dfd597af78adbaed93b177832dea08458712b543-1920x2753.jpg 1920w\" sizes=\"(max-width: 1785px) 100vw, 1785px\">\u003cfigcaption class=\"wp-caption-text\">Eva Longoria. \u003ccite>(JC Olivera/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953793\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg\" alt=\"Two white women stand on a red carpet wearing sunglasses. One wears a Black suit with exaggerated pink cuffs. The other wears long floral skirt and military jacket.\" width=\"1701\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-scaled.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-800x1204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1020x1535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1361x2048.jpg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074150646_custom-415a02065026cc2a94aea8992215b84e5e864c15-1920x2889.jpg 1920w\" sizes=\"(max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Greenwood and Katie Spencer. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953794\" class=\"wp-caption aligncenter\" style=\"max-width: 1637px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg\" alt=\"A Black woman wears a plunging black sequined gown. \" width=\"1637\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-scaled.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-982x1536.jpg 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1310x2048.jpg 1310w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074136611_custom-561b9f9ca6a7a97854b96a9809145f17599673d4-1920x3002.jpg 1920w\" sizes=\"(max-width: 1637px) 100vw, 1637px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074174000-b717372a0097c20dd956163bd74a77cf817071c5-scaled-e1710126732401.jpg\" alt=\"A white woman wearing a flowing pale blue gown with chiffon wrap.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Hailee Steinfeld. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953796\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg\" alt=\"A black man in a black suit and white tie poses next to a life size Oscar statue.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-scaled.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1357x2048.jpg 1357w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074143400-_custom-b95546877cf83f5ed7e6085a0a8d64baa4ca0ae7-1920x2897.jpg 1920w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">Colman Domingo. \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953797\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg\" alt=\"A pale white woman wears a tight off the shoulder gown with exaggerated wide angles on the chest.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101102_custom-27f3caec1ddadd7685c819fe77ce3f18ed6e0683-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953798\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg\" alt=\"A Black woman in a silver gown with structured peplum holds hands with a Black man in a tuxedo with white jacket and black lapel.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074118751_custom-7f8dd79f57be70960d113c67901104d0c4cfe800-1920x2877.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Union-Wade and Dwyane Wade. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953799\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg\" alt=\"A pregnant woman wearing a black form fitting, long sleeved, high necked gown.\" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074063763_custom-4864d7a94d00449ad0bf6af546411e23192eaf02-1920x2881.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Hudgens. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953800\" class=\"wp-caption aligncenter\" style=\"max-width: 1712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg\" alt=\"A slight man stands on a red carpet wearing black shirt and cornflower blue suit.\" width=\"1712\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-scaled.jpg 1712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1369x2048.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074009476_custom-c9463585c109d448bb93ead0f33b452f12bd2b55-1920x2871.jpg 1920w\" sizes=\"(max-width: 1712px) 100vw, 1712px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Zakhar Perez. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953801\" class=\"wp-caption aligncenter\" style=\"max-width: 1719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg\" alt=\"A striking Asian person with dark hair poses, hands on hips, in a red gown with very large skirts.\" width=\"1719\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-scaled.jpg 1719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074101623_custom-da0b82738f5a974247301d902cfe6bcbc10e8f5e-1920x2860.jpg 1920w\" sizes=\"(max-width: 1719px) 100vw, 1719px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Lee Yang. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953802\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg\" alt=\"A Black man in a tuxedo smiles warmly.\" width=\"1700\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-scaled.jpg 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074022001_custom-cf4c7a3ef3c2c2455815f53bd62dad4ed80ab382-1920x2892.jpg 1920w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Keith David. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953803\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg\" alt=\"A South Asian woman wears a Black and white gown with high leg slit.\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074008405_custom-893619b700e44ea9aed8903e912cd11018fd1d83-1920x2886.jpg 1920w\" sizes=\"(max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Maitreyi Ramakrishnan. \u003ccite>(Marleen Moise/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953804\" class=\"wp-caption aligncenter\" style=\"max-width: 1705px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg\" alt=\"A Black woman wears a gown with white bodice and black skirts with long black gloves.\" width=\"1705\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-scaled.jpg 1705w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2073959497_custom-75fd83aaabaffb0baa30ff6f9ee10034a270e8ef-1920x2883.jpg 1920w\" sizes=\"(max-width: 1705px) 100vw, 1705px\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander. \u003ccite>(Mike Coppola/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953805\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg\" alt=\"An Asian woman with hand on hip wears a soft pink gown. \" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-scaled.jpg 1710w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074065403_custom-689f882683fa7585b92a3429d9570b715c3fe574-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Leah Lewis. \u003ccite>(Emma McIntyre/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13953812\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png\" alt=\"A woman with short dark hair stands wearing a black shirt and suit with red detailing on the lapels.\" width=\"970\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-8.31.03-PM-800x1169.png 800w, 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\u003ccite>(Aliah Anderson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback",
"headTitle": "What to Expect at the Oscars: The Bomb, the Bombshell and the Possible Comeback | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>[aside postid='arts_13950821']In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>[aside postid='arts_13953424']At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">\u003cem>Barbenheimer\u003c/em>\u003c/a>‘s day is done. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>‘s night is here.\u003c/p>\n\u003cp>At any rate, that is how awards season has been playing out in the lead-up to Sunday’s 96\u003csup>th\u003c/sup> Annual Academy Awards (on ABC at 4:00 p.m.).\u003c/p>\n\u003cp>Greta Gerwig’s living-doll of a \u003cem>Barbie\u003c/em> movie handily won the hot-pink vs. dark-brooding competition at the box office, \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">raking in $1.4 billion as the year’s biggest smash\u003c/a> while also dominating the year’s memes and becoming the most successful woman-directed film in history.\u003c/p>\n\u003cp>Now though — if the Golden Globes, Critics Choice, BAFTA and Hollywood’s guild ceremonies are any indication — it will be \u003cem>Oppenheimer,\u003c/em> Christopher Nolan’s IMAX portrait of the father of the atom bomb, that’ll be raking in the gold statuettes.\u003c/p>\n\u003cfigure id=\"attachment_13931688\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931688\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png\" alt=\"A Latina in a striking red dress, an attractive Asian man, a blond white woman, a smiling Black woman, a white man in a mint green suit and a white woman in a pink sequined cape and dress stand together in a line on a red carpet.\" width=\"1804\" height=\"1182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM.png 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-14-at-2.25.30-PM-1536x1006.png 1536w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Barbie’ assembled in London with writer and director, Greta Gerwig. \u003ccite>(Warner Bros. Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Timing, diversity and (hopefully) more viewers\u003c/h3>\n\u003cp>Host Jimmy Kimmel will start the evening’s festivities at the Dolby Theater an hour earlier than usual, one of several strategies the Academy of Motion Picture Arts and Sciences is employing to lure TV viewers back to something approaching pre-pandemic (30 million+) levels. (The last three years have averaged less than half that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s reason for optimism: the biggest predictor of viewership has always been whether audiences have seen the nominees, and this year, with two of the most popular films of 2023 in the running for best picture, and with both of them and all their fellow nominees already available on streaming — the telecast is as well positioned as it has been in decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a new wrinkle, this year’s best picture nominees were required to fulfill at least two of four previously optional diversity-and-inclusion standards the Motion Picture Academy instituted after being stung by years of #OscarsSoWhite hashtags and a freshly minted #OscarsSoMale hashtag at its 2020 telecast.\u003c/p>\n\u003cp>The aim is to expand participation by historically under-represented groups on and off-screen. And while the standards aren’t particularly difficult to meet — of the 321 films eligible for Oscars, 265 qualified under the new requirements for Best Picture consideration — there is demonstrable diversity among nominees this year.\u003c/p>\n\u003cp>This could also be due to the Academy’s enlarged and broadened voting membership — almost 11,000 people (up from 6,261 in 2012) from 93 countries — with substantial increases in the percentage of women and persons of color over previous years.\u003c/p>\n\u003cp>Anecdotal evidence that this might be helping:\u003c/p>\n\u003cul>\n\u003cli>Four of the year’s best picture nominees (\u003cem>Killers of the Flower Moon, Anatomy of a Fall, Past Lives,\u003c/em> and \u003cem>Zone of Interest\u003c/em>) are at least partly not in English.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Seven of the 20 acting nominees are performers of color, with the best actress category already precedent-setting for the presence of Lily Gladstone, the first Native American acting nominee in Oscars history.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>GLAAD \u003ca href=\"https://glaad.org/oscar-nominations-2024-colman-domingo-lily-gladstone-jodie-foster-make-history-nimona-billie-eilish-receive-nods-all-of-us-strangers-snubbed/\">issued a statement \u003c/a>praising the nominations of \u003cem>Rustin\u003c/em>‘s Colman Domingo and \u003cem>Nyad\u003c/em>‘s Jodie Foster as the first time two out LGBTQ actors have been nominated for playing LGBTQ characters (and real-life historical icons).\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13953737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/djr-d2112b0529a55e310dd7720bbefba0c441a7ed7e-scaled-e1709923200118.jpg\" alt=\"A plus-sized Black woman in a red gown holds up a trophy.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Da’Vine Joy Randolph keeps on winning. She’s nominated for a Best Supporting Actress Oscar for ‘The Holdovers.’ \u003ccite>(Amy Sussman/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hints for your Oscar Pool ballot\u003c/h3>\n\u003cp>And then, of course, there’s the horse race. The Oscars come at the tail end of a wave of awards ceremonies, some from groups with memberships that overlap with the Academy’s. And when a lot of those groups agree, as has happened this year, that can make the race feel less like a contest than a coronation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At this point, it would be actively startling if \u003cem>Oppenheimer (\u003c/em>which received 13 nominations) does not win the two big prizes — best picture and best director (Christopher Nolan) — likely along with best editing, best score, best cinematography, and possibly best supporting actor (Robert Downey Jr.). \u003ca href=\"https://www.npr.org/2024/02/27/1197955846/its-been-a-minute-davine-joy-randolph-oscars-matriarch\">Da’Vine Joy Randolph\u003c/a> has won every best supporting actress award on the circuit so far for her grieving cafeteria manager in the prep-school dramedy \u003cem>The Holdovers.\u003c/em>\u003c/p>\n\u003cp>Still, a goodly number of other awards appear up for grabs, including:\u003c/p>\n\u003cul>\n\u003cli>Best actress, where \u003cem>Flower Moon’s\u003c/em> reserved Lily Gladstone and \u003cem>Poor Things’\u003c/em> boisterous Emma Stone appear equally favored.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best actor, where \u003cem>Oppenheimer’s\u003c/em> Cillian Murphy has been trading wins all awards season with \u003cem>The Holdovers’\u003c/em> Paul Giamatti.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Best animated feature, where \u003cem>Spider-Man: Across the Spider-Verse\u003c/em> and Hayao Miyazaki’s \u003cem>The Boy and the Heron\u003c/em> are perhaps a brush stroke apart in popularity.\u003c/li>\n\u003c/ul>\n\u003cp>All of which is to say, there’s still plenty of wriggle room on your Oscar pool ballot and reason to watch.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+to+expect+at+the+Oscars%3A+The+bomb%2C+the+bombshell%2C+and+the+possible+comeback&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003ci data-stringify-type=\"italic\">The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/i>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Who Took Lenny Williams’ Drawers?",
"headTitle": "Who Took Lenny Williams’ Drawers? | KQED",
"content": "\u003cp>You ever fall for some clickbait, and later find out it’s actually a heartwarming example of intergenerational connection and the beautiful legacy of Oakland?\u003c/p>\n\u003cp>It’s the darnedest thing, and it happened to me earlier this week.\u003c/p>\n\u003cp>After the social media accounts for \u003ca href=\"https://www.instagram.com/thereallennywilliams/\" target=\"_blank\" rel=\"noopener\">Lenny Williams\u003c/a>, famed singer and former frontman for the funk band Tower of Power, dropped a video for his new song, “She Took My Drawers,” I was on the other end of the internet starring at my phone in disbelief.\u003c/p>\n\u003cp>Wha… \u003cem>Why\u003c/em>? Why would the legendary vocalist who brought the world timeless songs like “‘Cause I Love You” and “So Very Hard To Go” be singing about extramarital affairs and blackmail via stolen underwear!?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=50pd7t1C__E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s first verse establishes that the protagonist had fallen asleep in a hotel bed with a woman who is not his wife, and woken up alone. In short order, he realizes that the woman took his underwear before she left, and she begins to threaten to post them online.\u003c/p>\n\u003cp>These are not just any ordinary underwear, according to the second verse:\u003c/p>\n\u003cblockquote>\u003cp>These boxers are special, a gift from my wife to me\u003cbr>\nAs a symbol of our love on our 21st anniversary\u003cbr>\nHad her picture on the front, and mine on the back\u003cbr>\nLawd have mercy, I’m ’bout to have me a heart attack\u003c/p>\u003c/blockquote>\n\u003cp>Who wrote this? Who put this together? Whose idea was this?\u003c/p>\n\u003cp>I felt bad for watching it. Then, naturally, I shared it through a few texts and social media posts. I got ready to move onto the next meme, chalking it all up to Lenny Williams entering his ‘do it for the gram’ phase, when a few folks scattered across the country hit me up. They had questions too — “Why?” being the main one.\u003c/p>\n\u003cp>So I reached out to Lenny Williams’ social media account, and within five minutes I heard back from someone who said we’d met a couple of times over the years — a guy by the name of Dwayne Davis — Lenny Williams’ grandson and main representative.\u003c/p>\n\u003cfigure id=\"attachment_13953644\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png\" alt=\"Dwayne Davis as a baby, sitting poolside as his grandfather Lenny Williams stands in the pool with his arms holding onto the young child.\" width=\"1234\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-800x686.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-1020x875.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-768x658.png 768w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis as a baby, sitting poolside, with his grandfather Lenny Williams. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/dwaynekhyridavis/\" target=\"_blank\" rel=\"noopener\">Dwayne\u003c/a>! In 2019, he was a senior at McClymonds High School, we talked about \u003ca href=\"https://www.kqed.org/arts/13876171/what-students-are-saying-about-mcclymonds-closure\" target=\"_blank\" rel=\"noopener\">the school’s closure due to trichloroethylene (TCE)\u003c/a> in the groundwater. We crossed paths again in 2021 when I hosted a panel discussion for Pete Nicks’ documentary film about the Oakland Unified School District, \u003ca href=\"https://www.kqed.org/arts/13901157/a-grand-lake-homecoming-for-pete-nicks-homeroom\" target=\"_blank\" rel=\"noopener\">\u003cem>Homeroom\u003c/em>\u003c/a>; Dwayne was one of the co-stars of the film.\u003c/p>\n\u003cp>And now look at him, after internships with powerhouse media companies \u003ca href=\"https://www.proximitymedia.com/\" target=\"_blank\" rel=\"noopener\">Proximity Media\u003c/a>, \u003ca href=\"https://www.xtr.com/\" target=\"_blank\" rel=\"noopener\">XTR Media\u003c/a> and \u003ca href=\"https://www.staymacro.com/\" target=\"_blank\" rel=\"noopener\">MACRO\u003c/a>, as well as a stint with \u003ca href=\"https://wacotheatercenter.com/\" target=\"_blank\" rel=\"noopener\">WACO Theatre\u003c/a>, founded by Richard and Tina Knowles-Lawson, Dwayne landed in Los Angeles. Now he’s managing artists, including his grandfather on his mom’s side.\u003c/p>\n\u003cp>Not only is he representing Williams behind the scenes, he also played the role of young Lenny in the music video for “She Took My Drawers.”\u003c/p>\n\u003cfigure id=\"attachment_13953667\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png\" alt=\"A black and white photos of Salina T. and Dwayne Davis boo'd up as they play their roles on the set of Lenny Williams' "She Took My Drawers" music video.\" width=\"3000\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-800x434.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1020x554.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-768x417.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1536x834.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-2048x1111.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1920x1042.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Salina T. and Dwayne Davis boo’d up as they play their roles on the set of Lenny Williams’ ‘She Took My Drawers’ music video. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a phone call, Dwayne confirms that Lenny did indeed write the song, with assistance from Derek “DOA” Allen. The video was directed by another family member, Jamal Josef.\u003c/p>\n\u003cp>“It’s had mixed reception online,” Dwayne tells me. There have been some negative comments, but friends, family and fans at shows seem to love it.\u003c/p>\n\u003cp>“It’s raunchy and fun,” Dwayne says, adding that it’s a nod to the storytelling style of modern southern soul, something that Lenny has been experimenting with while currently on tour with artists like \u003ca href=\"https://www.instagram.com/tuckakingofswing/?hl=en\" target=\"_blank\" rel=\"noopener\">Tucka\u003c/a> and \u003ca href=\"https://www.instagram.com/bigpokeybearjsp/?hl=en\">Pokey Bear\u003c/a> (whose similarly themed song “\u003ca href=\"https://www.youtube.com/watch?v=d7Mxkap8XNc\" target=\"_blank\" rel=\"noopener\">My Side Piece\u003c/a>” has 68 million views on YouTube).\u003c/p>\n\u003cp>Still, Dwayne confirms, “People are stunned that it’s the same man who sang “‘Cause I Love You.” Dwayne says seeing the audience’s reaction is one thing, but traveling with his grandfather on tour is a whole story within itself.\u003c/p>\n\u003cp>“I learn so much, experience so much, and every show is a quick turnaround,” says Dwayne, adding that they only do performances on the weekend, and stay in each city for less than 24 hours: “We’re usually on the first flight in and first flight out.” The majority of the shows are in the south or on the east coast.\u003c/p>\n\u003cfigure id=\"attachment_13953662\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg\" alt=\"Dwayne Davis wears a red tie and an a dark blazer as he poses for a photoshoot with Jamal Josef.\" width=\"1284\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-800x1017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1208x1536.jpg 1208w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis. \u003ccite>(Hadassah McGrew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Meeting artists, promoters and fans around the country has been life-changing,” says Dwayne, a 21 year-old who aspires to be in the entertainment industry. “I feel like I’m getting my bearings and learning how everything works.”\u003c/p>\n\u003cp>When Dwayne was six, he recalls being on a big boat with friends and family, taking photos with his grandfather. Moments later, Grandpa was on stage as \u003cem>the\u003c/em> \u003cem>Lenny Williams\u003c/em>. “Seeing the crowd so entertained, it was a foundational moment; that’s when it clicked,” says Dwayne. “Not just him being who he is, but that I wanted to be up there too. I wanted to entertain.”\u003c/p>\n\u003cp>Dwayne is on his path, but he knows he’s got a lot of ground to cover to match the legacy of his grandfather, who was inducted into the \u003ca href=\"https://www.freep.com/story/entertainment/music/2017/02/23/rb-hall-fame-announces-2017-inductees/98307788/\" target=\"_blank\" rel=\"noopener\">Rhythm and Blues Hall of Fame\u003c/a> in 2017.\u003c/p>\n\u003cp>“He’s my biggest motivation in human form,” says Dwayne, humbly. “I want to make him proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lenny Williams performs Friday, March 15, at the Paramount Theatre in Oakland as part of the 2024 Blues Is Alright Tour. \u003ca href=\"https://www.paramountoakland.org/events/detail/the-blues-is-alright-tour\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You ever fall for some clickbait, and later find out it’s actually a heartwarming example of intergenerational connection and the beautiful legacy of Oakland?\u003c/p>\n\u003cp>It’s the darnedest thing, and it happened to me earlier this week.\u003c/p>\n\u003cp>After the social media accounts for \u003ca href=\"https://www.instagram.com/thereallennywilliams/\" target=\"_blank\" rel=\"noopener\">Lenny Williams\u003c/a>, famed singer and former frontman for the funk band Tower of Power, dropped a video for his new song, “She Took My Drawers,” I was on the other end of the internet starring at my phone in disbelief.\u003c/p>\n\u003cp>Wha… \u003cem>Why\u003c/em>? Why would the legendary vocalist who brought the world timeless songs like “‘Cause I Love You” and “So Very Hard To Go” be singing about extramarital affairs and blackmail via stolen underwear!?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/50pd7t1C__E'\n title='//www.youtube.com/embed/50pd7t1C__E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song’s first verse establishes that the protagonist had fallen asleep in a hotel bed with a woman who is not his wife, and woken up alone. In short order, he realizes that the woman took his underwear before she left, and she begins to threaten to post them online.\u003c/p>\n\u003cp>These are not just any ordinary underwear, according to the second verse:\u003c/p>\n\u003cblockquote>\u003cp>These boxers are special, a gift from my wife to me\u003cbr>\nAs a symbol of our love on our 21st anniversary\u003cbr>\nHad her picture on the front, and mine on the back\u003cbr>\nLawd have mercy, I’m ’bout to have me a heart attack\u003c/p>\u003c/blockquote>\n\u003cp>Who wrote this? Who put this together? Whose idea was this?\u003c/p>\n\u003cp>I felt bad for watching it. Then, naturally, I shared it through a few texts and social media posts. I got ready to move onto the next meme, chalking it all up to Lenny Williams entering his ‘do it for the gram’ phase, when a few folks scattered across the country hit me up. They had questions too — “Why?” being the main one.\u003c/p>\n\u003cp>So I reached out to Lenny Williams’ social media account, and within five minutes I heard back from someone who said we’d met a couple of times over the years — a guy by the name of Dwayne Davis — Lenny Williams’ grandson and main representative.\u003c/p>\n\u003cfigure id=\"attachment_13953644\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png\" alt=\"Dwayne Davis as a baby, sitting poolside as his grandfather Lenny Williams stands in the pool with his arms holding onto the young child.\" width=\"1234\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM.png 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-800x686.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-1020x875.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-12.09.56-AM-768x658.png 768w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis as a baby, sitting poolside, with his grandfather Lenny Williams. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/dwaynekhyridavis/\" target=\"_blank\" rel=\"noopener\">Dwayne\u003c/a>! In 2019, he was a senior at McClymonds High School, we talked about \u003ca href=\"https://www.kqed.org/arts/13876171/what-students-are-saying-about-mcclymonds-closure\" target=\"_blank\" rel=\"noopener\">the school’s closure due to trichloroethylene (TCE)\u003c/a> in the groundwater. We crossed paths again in 2021 when I hosted a panel discussion for Pete Nicks’ documentary film about the Oakland Unified School District, \u003ca href=\"https://www.kqed.org/arts/13901157/a-grand-lake-homecoming-for-pete-nicks-homeroom\" target=\"_blank\" rel=\"noopener\">\u003cem>Homeroom\u003c/em>\u003c/a>; Dwayne was one of the co-stars of the film.\u003c/p>\n\u003cp>And now look at him, after internships with powerhouse media companies \u003ca href=\"https://www.proximitymedia.com/\" target=\"_blank\" rel=\"noopener\">Proximity Media\u003c/a>, \u003ca href=\"https://www.xtr.com/\" target=\"_blank\" rel=\"noopener\">XTR Media\u003c/a> and \u003ca href=\"https://www.staymacro.com/\" target=\"_blank\" rel=\"noopener\">MACRO\u003c/a>, as well as a stint with \u003ca href=\"https://wacotheatercenter.com/\" target=\"_blank\" rel=\"noopener\">WACO Theatre\u003c/a>, founded by Richard and Tina Knowles-Lawson, Dwayne landed in Los Angeles. Now he’s managing artists, including his grandfather on his mom’s side.\u003c/p>\n\u003cp>Not only is he representing Williams behind the scenes, he also played the role of young Lenny in the music video for “She Took My Drawers.”\u003c/p>\n\u003cfigure id=\"attachment_13953667\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png\" alt=\"A black and white photos of Salina T. and Dwayne Davis boo'd up as they play their roles on the set of Lenny Williams' "She Took My Drawers" music video.\" width=\"3000\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-800x434.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1020x554.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-768x417.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1536x834.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-2048x1111.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-07-at-11.18.33-AM-1920x1042.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Salina T. and Dwayne Davis boo’d up as they play their roles on the set of Lenny Williams’ ‘She Took My Drawers’ music video. \u003ccite>(Courtesy Dwayne Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a phone call, Dwayne confirms that Lenny did indeed write the song, with assistance from Derek “DOA” Allen. The video was directed by another family member, Jamal Josef.\u003c/p>\n\u003cp>“It’s had mixed reception online,” Dwayne tells me. There have been some negative comments, but friends, family and fans at shows seem to love it.\u003c/p>\n\u003cp>“It’s raunchy and fun,” Dwayne says, adding that it’s a nod to the storytelling style of modern southern soul, something that Lenny has been experimenting with while currently on tour with artists like \u003ca href=\"https://www.instagram.com/tuckakingofswing/?hl=en\" target=\"_blank\" rel=\"noopener\">Tucka\u003c/a> and \u003ca href=\"https://www.instagram.com/bigpokeybearjsp/?hl=en\">Pokey Bear\u003c/a> (whose similarly themed song “\u003ca href=\"https://www.youtube.com/watch?v=d7Mxkap8XNc\" target=\"_blank\" rel=\"noopener\">My Side Piece\u003c/a>” has 68 million views on YouTube).\u003c/p>\n\u003cp>Still, Dwayne confirms, “People are stunned that it’s the same man who sang “‘Cause I Love You.” Dwayne says seeing the audience’s reaction is one thing, but traveling with his grandfather on tour is a whole story within itself.\u003c/p>\n\u003cp>“I learn so much, experience so much, and every show is a quick turnaround,” says Dwayne, adding that they only do performances on the weekend, and stay in each city for less than 24 hours: “We’re usually on the first flight in and first flight out.” The majority of the shows are in the south or on the east coast.\u003c/p>\n\u003cfigure id=\"attachment_13953662\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg\" alt=\"Dwayne Davis wears a red tie and an a dark blazer as he poses for a photoshoot with Jamal Josef.\" width=\"1284\" height=\"1632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3.jpg 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-800x1017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1020x1296.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-768x976.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-3-1208x1536.jpg 1208w\" sizes=\"(max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis. \u003ccite>(Hadassah McGrew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Meeting artists, promoters and fans around the country has been life-changing,” says Dwayne, a 21 year-old who aspires to be in the entertainment industry. “I feel like I’m getting my bearings and learning how everything works.”\u003c/p>\n\u003cp>When Dwayne was six, he recalls being on a big boat with friends and family, taking photos with his grandfather. Moments later, Grandpa was on stage as \u003cem>the\u003c/em> \u003cem>Lenny Williams\u003c/em>. “Seeing the crowd so entertained, it was a foundational moment; that’s when it clicked,” says Dwayne. “Not just him being who he is, but that I wanted to be up there too. I wanted to entertain.”\u003c/p>\n\u003cp>Dwayne is on his path, but he knows he’s got a lot of ground to cover to match the legacy of his grandfather, who was inducted into the \u003ca href=\"https://www.freep.com/story/entertainment/music/2017/02/23/rb-hall-fame-announces-2017-inductees/98307788/\" target=\"_blank\" rel=\"noopener\">Rhythm and Blues Hall of Fame\u003c/a> in 2017.\u003c/p>\n\u003cp>“He’s my biggest motivation in human form,” says Dwayne, humbly. “I want to make him proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Lenny Williams performs Friday, March 15, at the Paramount Theatre in Oakland as part of the 2024 Blues Is Alright Tour. \u003ca href=\"https://www.paramountoakland.org/events/detail/the-blues-is-alright-tour\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Love Lies Bleeding’ Seduces With Sex and Suspense Before Spiraling",
"headTitle": "‘Love Lies Bleeding’ Seduces With Sex and Suspense Before Spiraling | KQED",
"content": "\u003cp>\u003cem>Love Lies Bleeding\u003c/em> is a weird goddamn movie.\u003c/p>\n\u003cp>It manages to be incredibly sexy one moment and turn-away-from-the-screen repulsive the next. Graphic violence and ironic humor rub up against one another. Everyone looks like a dirty trashbag, but in a way that is somehow pleasing to the eye. (Not dissimilar to 1996’s \u003cem>Trainspotting,\u003c/em> I suppose — if \u003cem>Trainspotting\u003c/em> had more perms and greasy mullets.)\u003c/p>\n\u003cp>It’s also a movie that spends two-thirds viscerally steeping itself in gritty realism, only to erupt into a surreal fantasy that flounders in the last act.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Yes. Please take my word for it: \u003cem>Love Lies Bleeding\u003c/em> is a weird goddamn movie that doesn’t just defy a single genre, it actively flips all of them off.\u003c/p>\n\u003cp>At the outset, this is a story that’s unusual in the best possible way. The setting is small-town New Mexico in 1989. Grumpy, chain-smoking gym employee Lou (Kristen Stewart) meets bodybuilding out-of-towner Jackie (Katy O’Brian). The two immediately shack up and begin a steamy — albeit steroid-enhanced — relationship. Jackie works at a nearby gun range that’s run by Lou’s estranged father, Lou Sr (Ed Harris). Jackie gets her job via J.J. (Dave Franco) after the two share a brief sexual encounter on her first night in town. J.J. also happens to be married to Lou’s sister Beth (Jena Malone), whom he viciously beats on a regular basis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BF_J3-DmiS0&t=43s\u003c/p>\n\u003cp>The bulk of \u003cem>Love Lies Bleeding\u003c/em> is a brilliantly acted, thoroughly engrossing, slow spiral into increasingly violent, desperate and complicated circumstances. J.J.’s actions set the characters on a crash course in which people are killed, bodies are concealed, traps are set, lines are blurred and allegiances are changed. At its core, the film is about love and monstrousness and how the two can intersect. But it’s also about broken families, lonely people and corrupt systems.\u003c/p>\n\u003cp>If \u003cem>Love Lies Bleeding\u003c/em> had successfully retained that tone and momentum throughout, it could have been a damn-near perfect movie. Where it throws itself drunkenly off a cliff is in trying too hard to labor its main raison d’être: the idea that love is capable of driving people to unthinkable actions.\u003c/p>\n\u003cp>Once the main characters are all thoroughly tied up in each other’s bad decisions, the script can’t quite figure out a sensible way to resolve itself. And with that, writer-director Rose Glass throws out the low-key, synth-enhanced, grimy sexiness that originally set the tone in favor of cartoonish imagery, a sharp shift into surreality and, worse still, plot holes.\u003c/p>\n\u003cp>[aside postid='arts_13952668']Still, there is enough to marvel at here that I can’t, in good conscience, tell you to skip \u003cem>Love Lies Bleeding\u003c/em> altogether. The aesthetics and misfit fashions alone are worth the viewing time. Then there’s all the hot-but-realistically-low-key sex between Lou and Jackie. Kristen Stewart’s slowly unraveling performance is magnificent. Katy O’Brian and her rippling muscles are consistently mesmerizing. And Ed Harris is so sinister here, this performance makes his \u003cem>Westworld\u003c/em> character look like a romantic lead.\u003c/p>\n\u003cp>So, by all means, go and see \u003cem>Love Lies Bleeding\u003c/em> for all of the above. Just don’t expect to get lost in its dirty little orbit for too long. It never quite sticks the landing.\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>‘Love Lies Bleeding’ officially hits Bay Area big screens on March 15, 2024. Special preview screenings begin in select San Francisco and Oakland theaters on March 12. \u003c/em>\u003c/p>\n\n",
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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/BF_J3-DmiS0'\n title='//www.youtube.com/embed/BF_J3-DmiS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The bulk of \u003cem>Love Lies Bleeding\u003c/em> is a brilliantly acted, thoroughly engrossing, slow spiral into increasingly violent, desperate and complicated circumstances. J.J.’s actions set the characters on a crash course in which people are killed, bodies are concealed, traps are set, lines are blurred and allegiances are changed. At its core, the film is about love and monstrousness and how the two can intersect. But it’s also about broken families, lonely people and corrupt systems.\u003c/p>\n\u003cp>If \u003cem>Love Lies Bleeding\u003c/em> had successfully retained that tone and momentum throughout, it could have been a damn-near perfect movie. Where it throws itself drunkenly off a cliff is in trying too hard to labor its main raison d’être: the idea that love is capable of driving people to unthinkable actions.\u003c/p>\n\u003cp>Once the main characters are all thoroughly tied up in each other’s bad decisions, the script can’t quite figure out a sensible way to resolve itself. And with that, writer-director Rose Glass throws out the low-key, synth-enhanced, grimy sexiness that originally set the tone in favor of cartoonish imagery, a sharp shift into surreality and, worse still, plot holes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there is enough to marvel at here that I can’t, in good conscience, tell you to skip \u003cem>Love Lies Bleeding\u003c/em> altogether. The aesthetics and misfit fashions alone are worth the viewing time. Then there’s all the hot-but-realistically-low-key sex between Lou and Jackie. Kristen Stewart’s slowly unraveling performance is magnificent. Katy O’Brian and her rippling muscles are consistently mesmerizing. And Ed Harris is so sinister here, this performance makes his \u003cem>Westworld\u003c/em> character look like a romantic lead.\u003c/p>\n\u003cp>So, by all means, go and see \u003cem>Love Lies Bleeding\u003c/em> for all of the above. Just don’t expect to get lost in its dirty little orbit for too long. It never quite sticks the landing.\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>‘Love Lies Bleeding’ officially hits Bay Area big screens on March 15, 2024. Special preview screenings begin in select San Francisco and Oakland theaters on March 12. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders",
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"content": "\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.[aside postID='arts_13952306']\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sean Wang — and his Grandmas — Will Rep Fremont at the Oscars",
"headTitle": "Sean Wang — and his Grandmas — Will Rep Fremont at the Oscars | KQED",
"content": "\u003cp>Sean Wang is having an awesome start to his year. The 30-year-old filmmaker from Fremont is nominated for his first Academy Award at this weekend’s Oscars ceremony for Best Documentary Short Film. Wang’s 17-minute documentary \u003cem>Nǎi Nai & Wài Pó\u003c/em> (\u003cem>Grandma & Grandma\u003c/em>), available to stream on on Disney+ and Hulu, sweetly captures the daily routines of his two grandmothers who live together in Fremont.\u003c/p>\n\u003cp>Before getting that golden news from the Academy, Wang debuted his first feature film, \u003cem>\u003ca href=\"https://www.focusfeatures.com/article/didi_date-announcement\">Dìdi\u003c/a>\u003c/em>, at the Sundance Festival. A coming-of-age story that Wang calls “a love letter to the Bay Area, Fremont especially,” \u003cem>Dìdi\u003c/em> won two festival awards and was picked up by Focus Features, which will give it a limited theatrical release this summer.\u003c/p>\n\u003cp>I caught up with Wang over Zoom to talk about life since the Oscar nod, his filmmaker origin story in the Bay (“everything traces back to skateboarding”) and more.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: A lot of people have seen \u003ca href=\"https://www.youtube.com/watch?v=iCNMXENmOpk\">the reaction video\u003c/a> of you and your family receiving news of your Oscar nomination. What’s the ride been like since then?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sean Wang\u003c/strong>: So surreal. This experience has overlapped with premiering my first feature film, so it’s two incredible experiences happening at the same time. It really is beyond my wildest dreams. And to get to do it with my grandmothers and have them really enjoy this process – and feel like we’re giving them a core memory at 96 and 86 years old – there’s no real downside.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7fBvvRBlDHc\u003c/p>\n\u003cp>\u003cstrong>And how are your Nǎi Nai and Wài Pó feeling about everything? Are they excited to have their glam moment at the Oscars?\u003c/strong>\u003c/p>\n\u003cp>Yeah, they’re getting styled by \u003ca href=\"https://www.instagram.com/reel/C3tDpLppEhZ/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Rodarte and Shirley Kurata\u003c/a>, who was a costume designer for \u003cem>Everything Everywhere All at Once\u003c/em>. So we’re giving them a Hollywood night that, hopefully, we’ll remember forever.\u003c/p>\n\u003cp>\u003cstrong>That’s huge! Have they become local celebrities around Fremont?\u003c/strong>\u003c/p>\n\u003cp>They don’t leave the house much, so I don’t think they’re getting stopped on the street or at the Chinese supermarket, but certainly within the cultural circles that I am a part of. At the [Oscars] luncheon, people were like, “Oh my God, it’s the grandmas!” And so that’s a very strange but cool experience to have them be noticed and seen like that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Flashing back a little bit on your history, I’m curious when you first realized you wanted to be a filmmaker, and how you went about exploring that while growing up in Fremont?\u003c/strong>\u003c/p>\n\u003cp>Everything traces back to skateboarding for me. I’m a younger sibling; all of my cousins in the States are older than me. For a lot of my early years, my interests and my identity was looking at them and what they liked. But then I discovered skating when I was 12 or 13 years old, and that was just a very pure love. It was something that was really my own.\u003c/p>\n\u003cp>Through skating, I got into photography and videos and filming my friends. I started making \u003ca href=\"https://youtu.be/bJxl7xJh46I?si=HWYSsNh_yxeCqiLV\">little documentaries\u003c/a>, and that was like a buzz for me. I was excited about putting it on YouTube, but I didn’t really have the language for it – that it was “filmmaking.” I just really loved doing it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bJxl7xJh46I\u003c/p>\n\u003cp>When I graduated high school, that was the first real fork in the road, where it’s like, \u003cem>okay, is there a career doing this\u003c/em>? Growing up in Fremont, there just isn’t that language. I didn’t know any other filmmakers. There were no examples that I could really follow. But I knew that whatever this was, it was a very pure love. I ended up at De Anza [Community College] for two years, and the intention was to transfer to a film school and that’s what happened.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about your Oscar-nominated film. There’s a part when Wài Pó says, “in the future, you can show your children what we were like.” That really struck me. My family just laid my grandmother to rest a few weeks ago. So watching your grandmothers made me think about my own, and it’s really cool that you’ll get to have this memory of them after they are gone. I’m guessing that was at least part of the motivation and inspiration behind it? Did you go into it thinking about a short film, or were you just wanting to capture memories?\u003c/strong>\u003c/p>\n\u003cp>Thank you for sharing that with me. It was both, I think. The catalyst for the film was just wanting to film them and make \u003cem>something\u003c/em>. I moved to New York City after I graduated college and lived there for about 5 or 6 years. Then in the spring of 2021, I moved home to the Bay Area, and in that period of living with them, there was so much joy. I really got to see my grandmothers and experience day-to-day life with them.\u003c/p>\n\u003cfigure id=\"attachment_13953491\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg\" alt=\"\" width=\"1600\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1536x1160.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From left, filmmaker Sean Wang’s ‘Wài Pó,’ Chang Li Hua, and ‘Nǎi Nai,’ Yi Yan Fuei, in a still from the Oscar-nominated documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there was also this extreme anger and helplessness that a lot of people were feeling at that time with Covid, and with the rise in anti-Asian violence that was happening to people like my grandmothers, and people in our community. As a filmmaker, anytime I feel those emotions that are so visceral, it challenges me to ask, “Where are these emotions coming from? And how can we use that and create art?”\u003c/p>\n\u003cp>The antidote to the anger was their joy. I wanted to make a film that was a container for all of their humanity, their joy, their silliness, their infectious, childlike energy, but also their pain and their lives that they lived before they were my grandmothers. And create a holistic portrait of that to show just how human they are, in a way that I felt people were overlooking in our society.\u003c/p>\n\u003cp>But to what you were saying, at the end of the day, there was this home video mentality that we brought to it, where I just wanted to remember them and remember this moment that I had with them. So even if nobody watched it, it was still a memento and a time capsule for myself and my family.\u003c/p>\n\u003cfigure id=\"attachment_13953493\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg\" alt=\"\" width=\"1600\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1536x1156.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang touches foreheads with Nǎi Nai in a still from his documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have a favorite scene from the film? \u003c/strong>\u003c/p>\n\u003cp>There’s a shot in the end montage, where me and Nǎi Nai are touching foreheads. That shot always makes me emotional. I always thank [producer] Sam [Davis] for capturing that. I edited the movie too, so there were moments in the edit that always gutted me. There’s a moment where Wài Pó was talking about, “I’m not afraid of death.” You can tell she’s thinking about mortality in those moments and you can see it in her eyes – not just the pain, but the humanity. And she takes a little sigh, and that moment always gutted me.\u003c/p>\n\u003cp>[ad alignright]\u003cstrong>What’s the feeling amongst your family in terms of this accomplishment, and all the excitement going into the Oscars? \u003c/strong>\u003c/p>\n\u003cp>They’re all excited. We were able to get tickets for the whole family, so it’s really a proper family affair. I feel like I’m the grandmothers’ “plus one” in all of this. As long as they’re having a good time and they feel taken care of, I’ll feel like I’m having a good time. At the end of the day, we’ve already won because this experience has been so special.\u003c/p>\n\u003cp>\u003cstrong>If you take home the Oscar, is there a favorite spot in the Bay Area where you and your family would go to celebrate?\u003c/strong>\u003c/p>\n\u003cp>That’s a good question. Growing up, we used to go out to dinner at Darda Seafood in Milpitas all the time. We haven’t been in years. But that was like a family tradition. Maybe we’ll bring that back for this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Wang is having an awesome start to his year. The 30-year-old filmmaker from Fremont is nominated for his first Academy Award at this weekend’s Oscars ceremony for Best Documentary Short Film. Wang’s 17-minute documentary \u003cem>Nǎi Nai & Wài Pó\u003c/em> (\u003cem>Grandma & Grandma\u003c/em>), available to stream on on Disney+ and Hulu, sweetly captures the daily routines of his two grandmothers who live together in Fremont.\u003c/p>\n\u003cp>Before getting that golden news from the Academy, Wang debuted his first feature film, \u003cem>\u003ca href=\"https://www.focusfeatures.com/article/didi_date-announcement\">Dìdi\u003c/a>\u003c/em>, at the Sundance Festival. A coming-of-age story that Wang calls “a love letter to the Bay Area, Fremont especially,” \u003cem>Dìdi\u003c/em> won two festival awards and was picked up by Focus Features, which will give it a limited theatrical release this summer.\u003c/p>\n\u003cp>I caught up with Wang over Zoom to talk about life since the Oscar nod, his filmmaker origin story in the Bay (“everything traces back to skateboarding”) and more.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: A lot of people have seen \u003ca href=\"https://www.youtube.com/watch?v=iCNMXENmOpk\">the reaction video\u003c/a> of you and your family receiving news of your Oscar nomination. What’s the ride been like since then?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sean Wang\u003c/strong>: So surreal. This experience has overlapped with premiering my first feature film, so it’s two incredible experiences happening at the same time. It really is beyond my wildest dreams. And to get to do it with my grandmothers and have them really enjoy this process – and feel like we’re giving them a core memory at 96 and 86 years old – there’s no real downside.\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/7fBvvRBlDHc'\n title='//www.youtube.com/embed/7fBvvRBlDHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>And how are your Nǎi Nai and Wài Pó feeling about everything? Are they excited to have their glam moment at the Oscars?\u003c/strong>\u003c/p>\n\u003cp>Yeah, they’re getting styled by \u003ca href=\"https://www.instagram.com/reel/C3tDpLppEhZ/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Rodarte and Shirley Kurata\u003c/a>, who was a costume designer for \u003cem>Everything Everywhere All at Once\u003c/em>. So we’re giving them a Hollywood night that, hopefully, we’ll remember forever.\u003c/p>\n\u003cp>\u003cstrong>That’s huge! Have they become local celebrities around Fremont?\u003c/strong>\u003c/p>\n\u003cp>They don’t leave the house much, so I don’t think they’re getting stopped on the street or at the Chinese supermarket, but certainly within the cultural circles that I am a part of. At the [Oscars] luncheon, people were like, “Oh my God, it’s the grandmas!” And so that’s a very strange but cool experience to have them be noticed and seen like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Flashing back a little bit on your history, I’m curious when you first realized you wanted to be a filmmaker, and how you went about exploring that while growing up in Fremont?\u003c/strong>\u003c/p>\n\u003cp>Everything traces back to skateboarding for me. I’m a younger sibling; all of my cousins in the States are older than me. For a lot of my early years, my interests and my identity was looking at them and what they liked. But then I discovered skating when I was 12 or 13 years old, and that was just a very pure love. It was something that was really my own.\u003c/p>\n\u003cp>Through skating, I got into photography and videos and filming my friends. I started making \u003ca href=\"https://youtu.be/bJxl7xJh46I?si=HWYSsNh_yxeCqiLV\">little documentaries\u003c/a>, and that was like a buzz for me. I was excited about putting it on YouTube, but I didn’t really have the language for it – that it was “filmmaking.” I just really loved doing it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bJxl7xJh46I'\n title='//www.youtube.com/embed/bJxl7xJh46I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I graduated high school, that was the first real fork in the road, where it’s like, \u003cem>okay, is there a career doing this\u003c/em>? Growing up in Fremont, there just isn’t that language. I didn’t know any other filmmakers. There were no examples that I could really follow. But I knew that whatever this was, it was a very pure love. I ended up at De Anza [Community College] for two years, and the intention was to transfer to a film school and that’s what happened.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about your Oscar-nominated film. There’s a part when Wài Pó says, “in the future, you can show your children what we were like.” That really struck me. My family just laid my grandmother to rest a few weeks ago. So watching your grandmothers made me think about my own, and it’s really cool that you’ll get to have this memory of them after they are gone. I’m guessing that was at least part of the motivation and inspiration behind it? Did you go into it thinking about a short film, or were you just wanting to capture memories?\u003c/strong>\u003c/p>\n\u003cp>Thank you for sharing that with me. It was both, I think. The catalyst for the film was just wanting to film them and make \u003cem>something\u003c/em>. I moved to New York City after I graduated college and lived there for about 5 or 6 years. Then in the spring of 2021, I moved home to the Bay Area, and in that period of living with them, there was so much joy. I really got to see my grandmothers and experience day-to-day life with them.\u003c/p>\n\u003cfigure id=\"attachment_13953491\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg\" alt=\"\" width=\"1600\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1536x1160.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From left, filmmaker Sean Wang’s ‘Wài Pó,’ Chang Li Hua, and ‘Nǎi Nai,’ Yi Yan Fuei, in a still from the Oscar-nominated documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there was also this extreme anger and helplessness that a lot of people were feeling at that time with Covid, and with the rise in anti-Asian violence that was happening to people like my grandmothers, and people in our community. As a filmmaker, anytime I feel those emotions that are so visceral, it challenges me to ask, “Where are these emotions coming from? And how can we use that and create art?”\u003c/p>\n\u003cp>The antidote to the anger was their joy. I wanted to make a film that was a container for all of their humanity, their joy, their silliness, their infectious, childlike energy, but also their pain and their lives that they lived before they were my grandmothers. And create a holistic portrait of that to show just how human they are, in a way that I felt people were overlooking in our society.\u003c/p>\n\u003cp>But to what you were saying, at the end of the day, there was this home video mentality that we brought to it, where I just wanted to remember them and remember this moment that I had with them. So even if nobody watched it, it was still a memento and a time capsule for myself and my family.\u003c/p>\n\u003cfigure id=\"attachment_13953493\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg\" alt=\"\" width=\"1600\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1536x1156.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang touches foreheads with Nǎi Nai in a still from his documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have a favorite scene from the film? \u003c/strong>\u003c/p>\n\u003cp>There’s a shot in the end montage, where me and Nǎi Nai are touching foreheads. That shot always makes me emotional. I always thank [producer] Sam [Davis] for capturing that. I edited the movie too, so there were moments in the edit that always gutted me. There’s a moment where Wài Pó was talking about, “I’m not afraid of death.” You can tell she’s thinking about mortality in those moments and you can see it in her eyes – not just the pain, but the humanity. And she takes a little sigh, and that moment always gutted me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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