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"content": "\u003cp>It’s easy, sometimes, in the face of losses or changes within the cultural landscape, to fall into doom and gloom. Everything’s less; everything’s worse; the philistines don’t care. For film buffs, today is one of those days — the renovation of the Castro begins, and the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">impending removal of its original theatrical seating\u003c/a> constitutes a crushing loss of San Francisco’s last pure movie palace. \u003c/p>\n\u003cp>But instead of bemoaning the total loss of Bay Area film culture, how about we rally around what we \u003ci>do\u003c/i> have — and what’s to come? After all, what we already have is a lot: enough independent, revival, experimental and artist-made films playing every night of the week that one can’t possibly see them all. \u003c/p>\n\u003cp>“I had, for years, a Google calendar that was everything playing in the Bay Area that I was interested in,” says Stephen Fisk, a 38-year-old film lover. “I had shared it with a bunch of friends, to the point that one of them was like, ‘I had to turn it off, it’s too stressful to see something every day of the week.’”\u003c/p>\n\u003cp>[aside postID='arts_13950600']To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13900656']“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"headTitle": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie | KQED",
"content": "\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>[aside postid='arts_13939927']At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>[aside postid='pop_107664']This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_97337']If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YH3BMICpXyA\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Jake Gyllenhaal and Conor McGregor star in a soon-to-be released update, so let’s revisit the 1989 original.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YH3BMICpXyA'\n title='//www.youtube.com/embed/YH3BMICpXyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
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"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Carol Doda Topless at the Condor’ Documentary Gets SF Release Date",
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"content": "\u003cp>A new documentary about \u003ca href=\"https://www.kqed.org/news/10755111/legendary-san-francisco-stripper-carol-doda-dies\">Carol Doda\u003c/a>, the go-go dancing North Beach legend, will hit San Francisco movie theaters on March 22.\u003c/p>\n\u003cp>[aside postid='news_10755111']\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\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=\"(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>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s such a complex person,” Marlo Mackenzie noted after a screening of \u003cem>Carol Doda Topless at the Condor \u003c/em>last October. “I love the way she challenges our ideas around nudity and body shame.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She was such an important part of San Francisco’s cultural history, which had an impact on the whole country,” \u003ca href=\"https://deadline.com/2024/01/picturehouse-carol-doda-topless-at-the-condor-1235806107/\">Jonathan Parker told Deadline\u003c/a>. “At a time when there weren’t a lot of options for women, Carol created a career for herself that resonated on many levels. She had charisma. She had courage. And I believe she loved what she did.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\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=\"(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>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She’s such a complex person,” Marlo Mackenzie noted after a screening of \u003cem>Carol Doda Topless at the Condor \u003c/em>last October. “I love the way she challenges our ideas around nudity and body shame.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She was such an important part of San Francisco’s cultural history, which had an impact on the whole country,” \u003ca href=\"https://deadline.com/2024/01/picturehouse-carol-doda-topless-at-the-condor-1235806107/\">Jonathan Parker told Deadline\u003c/a>. “At a time when there weren’t a lot of options for women, Carol created a career for herself that resonated on many levels. She had charisma. She had courage. And I believe she loved what she did.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"headTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too | KQED",
"content": "\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13950649']Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3zTLbBUJTeE\u003c/p>\n\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>[aside postid='arts_13950901']Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&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>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\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/3zTLbBUJTeE'\n title='//www.youtube.com/embed/3zTLbBUJTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&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>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards",
"headTitle": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards | KQED",
"content": "\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \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> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bK6ldnjE3Y0\u003c/p>\n\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RlbR5N6veqw\u003c/p>\n\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ&t=13s\u003c/p>\n\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pBk4NYhWNMM\u003c/p>\n\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=gJP2QblqLA0\u003c/p>\n\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA&t=75s\u003c/p>\n\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \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> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FUXawkH-ONM\u003c/p>\n\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=GFNtVaAuVYY\u003c/p>\n\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kA244xewjcI&t=63s\u003c/p>\n\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q&t=79s\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pDak4qLyF4Q\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=wPwzBUui1GA\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=cqGjhVJWtEg\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EuZ-UONInl4\u003c/p>\n\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t5khm-VjEu4\u003c/p>\n\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \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> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\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/bK6ldnjE3Y0'\n title='//www.youtube.com/embed/bK6ldnjE3Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\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/RlbR5N6veqw'\n title='//www.youtube.com/embed/RlbR5N6veqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\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/pBk4NYhWNMM'\n title='//www.youtube.com/embed/pBk4NYhWNMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\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/gJP2QblqLA0'\n title='//www.youtube.com/embed/gJP2QblqLA0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\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/i0MbLCpYJPA'\n title='//www.youtube.com/embed/i0MbLCpYJPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \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> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\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/FUXawkH-ONM'\n title='//www.youtube.com/embed/FUXawkH-ONM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\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/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\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/GFNtVaAuVYY'\n title='//www.youtube.com/embed/GFNtVaAuVYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\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/kA244xewjcI'\n title='//www.youtube.com/embed/kA244xewjcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\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/3anCgVSQb3Q'\n title='//www.youtube.com/embed/3anCgVSQb3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\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/pDak4qLyF4Q'\n title='//www.youtube.com/embed/pDak4qLyF4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\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/wPwzBUui1GA'\n title='//www.youtube.com/embed/wPwzBUui1GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\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/cqGjhVJWtEg'\n title='//www.youtube.com/embed/cqGjhVJWtEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\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/EuZ-UONInl4'\n title='//www.youtube.com/embed/EuZ-UONInl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\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/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\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/t5khm-VjEu4'\n title='//www.youtube.com/embed/t5khm-VjEu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greta Gerwig’s Oscars Snub Should Come as No Surprise",
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"content": "\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>[aside postid='arts_13950768']Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/jmpalmieri/status/1749814660956828007\u003c/p>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>[aside postid='pop_105648']Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>[aside postID='arts_13938908']During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"headTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises | KQED",
"content": "\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \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>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "’Oppenheimer,’ Christopher Nolan’s drama about the man who developed the atomic bomb, led with 13 nominations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \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>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\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/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cp>Though they may not often get shine on the big screen, trans men, butch lesbians and studs have fascinating stories that span time periods and cultures. An upcoming month of screenings at Berkeley Art Museum and Pacific Film Archive (BAMPFA) offers a rare opportunity to take in a diverse selection of films with masculine-of-center, gender-nonconforming protagonists.\u003c/p>\n\u003cp>Curated by queer film historian Jenni Olson and trans critic Caden Mark Gardner, \u003ca href=\"https://bampfa.org/program/masc\">\u003ci>Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes in Cinema\u003c/i>\u003c/a> kicks off on Jan. 19 with a screening of \u003ci>No Ordinary Man\u003c/i> (directed by Aisling Chin-Yee and Chase Joynt, 2020), a documentary about jazz pianist Billy Tipton, who was outed as assigned female at birth and slandered in the press after his death in 1989. The film not only uplifts his musical contributions, but also explores the sacrifices he made in order to pass. At the screening, Olson will host a discussion with premier trans historian Susan Stryker and GLBT Historical Society archivist Isaac Fellman. [aside postid='arts_13900522']\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\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>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\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>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>[aside postid='arts_13858815']The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s27ETxdCUqw\u003c/p>\n\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>[aside postid='arts_13940387']DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\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/s27ETxdCUqw'\n title='//www.youtube.com/embed/s27ETxdCUqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’",
"headTitle": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’ | KQED",
"content": "\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13939153']If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i48f4AvS-Pk\u003c/p>\n\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>[aside postid='arts_13939927']If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\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/i48f4AvS-Pk'\n title='//www.youtube.com/embed/i48f4AvS-Pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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