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"content": "\u003cp>OK, so maybe we’re not tracking her jet travel online like amateur spies, or worrying on a diplomatic level whether she’ll make it to a football game.\u003c/p>\n\u003cp>But current Swift-mania aside, let’s not forget that another force of nature, J.Lo, has been the ultimate celebrity for decades. Singer. Dancer. Rom-com actor, charismatic and charming. Social media queen, and yes, tabloid magnet, with the very public ups and downs of her love life. Jennifer Lopez, now 54, has been doing this pop goddess thing for a very long time, and very well.\u003c/p>\n\u003cp>[aside postid='pop_21655']All of which is to say that when she sings now that she and her lover — Ben Affleck, obviously — don’t need to give a $%& about how others feel, well, who are we to argue? Who are we, really, to argue with J.Lo about anything?\u003c/p>\n\u003cp>Which is perhaps the perfect vantage point from which to assess the curious 65-minute creation that is \u003cem>This is Me… Now: A Love Story\u003c/em>, the movie accompanying her album out Friday. Some will call it a mere music video — it’s directed by Dave Meyers, who’s done hundreds — but it’s heftier than that. And if the plot feels truly chaotic, blending (deep breath here, please) mythology, astrology, autobiography, confessional, modern romantic comedy and Old Hollywood glamour (still with us?), it is so J.Lo — so very, very J.Lo — that it feels logical, too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Osu2N9gysYk&t=38s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether that means the film is, well, good, is probably a matter of how you feel about Lopez. Certainly, she’s brought everything to the table here: her talents, her fertile imagination and her wallet, too, self-financing when money fell through, to the tune of a reported $20 million. Talk about self-belief, which is the moral of the film, if expressed rather too quickly and conveniently. If you can’t love yourself, Lopez and co-writer Mark Walton tell us, you can’t really love anyone else.\u003c/p>\n\u003cp>[aside postid='pop_98212']Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>[aside postid='arts_13952322']This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, we told you there was a plot, so here goes. Lopez, though channeling her own life, doesn’t have a name in the film — she’s billed as “Artist.” But before we meet her, we begin with Puerto Rican mythology: the story of Alida and Taroo, star-crossed lovers from enemy tribes. They can’t be together, so the gods turn her into a red flower (Lopez appears in the animation as Alida), and Taroo into a hummingbird, destined to forever seek her. The Artist heard the tale as a child and decided what she wanted to be when she grew up: “in love.”\u003c/p>\n\u003cp>Now we see the modern Artist on the back of a motorcycle, riding across a beach, with a hunky man, face shielded. Then, screech — the motorcycle crashes. “Not all love stories have a happy ending,” she says.\u003c/p>\n\u003cp>The Artist’s adventure with love takes us to a \u003cem>Metropolis\u003c/em>-like sequence in a very dystopian-looking factory, its purpose not fully clear but in any case a great setting for one of many dance numbers. Lopez still has it, if you wondered. Turns out, though, the depleting oxygen and dancers in hazmat suits are all part of a dream. We learn this in the Artist’s therapy session the next day with her shrink (rapper Fat Joe, naturally).\u003c/p>\n\u003cfigure id=\"attachment_13952413\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png\" alt=\"A woman wearing dirty work clothes hangs from a rusty sphere inside a factory.\" width=\"1720\" height=\"1142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-15-at-1.20.27-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Lopez in ‘This is Me… Now: A Love Story.’ \u003ccite>(Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He asks how it’s going with the new guy. Not so well, it turns out — the guy’s a Libra (astrology is ever-present) and, more to the point, violent, as we learn in the song “Rebound” about a toxic relationship, with a powerful dance sequence that has her continually pulled back into an abuser’s clutches.\u003c/p>\n\u003cp>Time for the Zodiac Council to weigh in. Yes, up in the stars, led by Jane Fonda — yes Jane Fonda — not as J.Lo’s mother-in-law this time but as Sagittarius, yes the sign, who peers down at our girl and says: “I don’t get it!” Yup, agrees Libra, played by Trevor Noah — Libras and Leos are supposed to go well together. And so it goes, with others chiming in: Keke Palmer as Scorpio, Post Malone as Leo, Sofia Vergara as Cancer, Kim Petras as Virgo and even astrophysicist Neil deGrasse Tyson as Taurus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This wacky group is a celestial counterpart to a band of well-meaning friends down on Earth, those typical rom-com buddies who stage an intervention into her love life. Is the Artist is a sex addict? A love addict? Another addiction — to weddings, wink wink! — is explored in a big number where Lopez marries three different grooms.\u003c/p>\n\u003cp>It won’t shock you that the Artist ultimately learns to love herself, with a return to her roots (this is, after all, Jenny From the Block). If she didn’t, we wouldn’t have an audacious — but fun — recreation of Gene Kelly in \u003cem>Singin’ in the Rain\u003c/em>. We also wouldn’t have reason to hear the triumphant songs that comprise the new album, coming more than 20 years after \u003cem>This is Me … Then\u003c/em>, written during her first go-round with Affleck.\u003c/p>\n\u003cp>Famously, they broke up. Famously, they reunited. (Now-husband Affleck appears here, in a sly cameo we won’t spoil.) We watched it all. And we’ll keep watching this most durable of superstars. There will be more to come. But this is her, now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This is Me… Now: A Love Story’ (both album and short film) are released nationwide on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zZ_vkS1R_I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7zZ_vkS1R_I'\n title='//www.youtube.com/embed/7zZ_vkS1R_I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Fremont Filmmaker Is Heading to the Oscars — With His Grandmothers",
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"content": "\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>[aside postid='arts_13951958']Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JlyYimV6Qqw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iCNMXENmOpk\u003c/p>\n\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>[aside postid='arts_13880441']A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>[aside postid='arts_13914487']That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>[aside postid='arts_13951641']“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Wang’s two grandmothers live together. They read the newspaper together. They dance together. They sleep in the same bed and complain about each other’s farts. The older of the two, Yi Yan Fuei, is 96. The younger, Chang Li Hua, is 86. They’re in-laws but they act more like sisters.\u003c/p>\n\u003cp>When Wang, their 29-year-old grandson, was getting into filmmaking, one of the first he made was a short where Yi and Chang feed him blueberries. When Sean refuses, they kill him and bury him in the backyard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wang kept shooting them in their Bay Area home, especially after he moved back in with his nearby mom during the pandemic. They got accustomed to his camera being around. But they never thought it would lead to the Academy Awards.\u003c/p>\n\u003cp>\u003cem>Nǎi Nai and Wài Pó\u003c/em>, Wang’s deeply charming portrait of his grandmothers, is nominated for best documentary short at the Academy Awards. In it, Wang films Yi and Chang going about their daily lives with bits of playfulness mixed in. They arm wrestle. They play dress-up. They watch \u003cem>Superbad\u003c/em>. But mostly, \u003cem>Nǎi Nai and Wài Pó\u003c/em>, which translates as maternal grandmother and paternal grandmother in Mandarin, captures the joy of two spirited ladies in older age as they occasionally chide their grandson’s attempts to turn them into movie stars.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JlyYimV6Qqw'\n title='//www.youtube.com/embed/JlyYimV6Qqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you first asked us to be movie stars, we were like, ‘This must be a joke,’” Chang says in an interview by Zoom alongside Yi, with Wang joining from Los Angeles. “But now that we made this movie and it’s going to the Oscars, we do kind of feel like movie stars. Now that this whole experience has happened, we do feel a little prettier.”\u003c/p>\n\u003cp>When Oscar nominations were announced last month, it wasn’t Bradley Cooper’s or Emma Stone’s reactions that went viral. It was the celebration, caught on video, of Yi and Chang, with Wang, his mom and producer Sam Davis standing over them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iCNMXENmOpk'\n title='//www.youtube.com/embed/iCNMXENmOpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the film, which is streaming on Disney+, Yi and Chang reflect on mortality and the essential things in life. “As long as I have the newspaper, I can live,” says Yi in the film, with magnifying glass in hand. Now, they’re in the news, themselves.\u003c/p>\n\u003cp>“Every day I open the newspaper and if I got to see you, that’d be amazing,” Yi tells Wang, who, after translating, shrugged: “I don’t think we’ve made it into the Taiwanese newspapers yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A prominent news story a few years ago partly inspired Wang to make the movie. During the pandemic, when Asian and Asian-American hate crimes were escalating, he saw his grandmothers as a perfect antidote to the hateful stereotyping that followed COVID-19. At the same time, the short, which premiered last year at SXSW, was meant to essentially just be a simple home movie.\u003c/p>\n\u003cp>“That’s kind of why we made this movie,” Wang says. “It’s just so we could have this recollection, this time capsule that captures the essence of these two women. Long after they’ve passed away, we can have some sort of memento to remember what their lives were like.”\u003c/p>\n\u003cp>Yi and Chang both grew up in poverty in wartime Taiwan. Their vivacious attitude (“Doesn’t matter if we know how to dance,” Chang says in the film. “We’ll shake our hips.”) is a conscious reaction to hardship they’ve experienced. In the film, Chang notes that days spent sad pass the same as those spent happy. “So I’m going to choose joy.”\u003c/p>\n\u003cp>“There was so much pain in our childhoods,” Chang says now, tearing up. “Our late lives are so much more fortunate than what we experienced when we were young. And then to be surrounded by our family, there’s so much more joy around us than when we were young.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That includes Wang who, when not brightening the days of his grandmothers, has emerged as one of the breakthrough filmmakers of the year. At the same time that \u003cem>Nǎi Nai and Wài Pó\u003c/em> was landing its Oscar nomination, Wang’s feature film directorial debut, \u003cem>Dìdi\u003c/em>, was a sensation at the Sundance Film Festival.\u003c/p>\n\u003cp>At Sundance, \u003cem>Dìdi\u003c/em>, a semi-autobiographical coming-of-age comedy about a teenage Taiwanese American skater kid growing up in Los Angeles, won the U.S Dramatic Audience Award and the special jury award for best ensemble cast — a cast that includes Chang as the mother-in-law. Focus acquired the film, the title of which can mean both “little brother” or a term of endearment for a family’s youngest son in Mandarin.\u003c/p>\n\u003cp>“Surreal and bonkers,” Wang says of the twin successes. “To have these spotlights on global platforms for these stories that come from such a deep personal place is bonkers.”\u003c/p>\n\u003cp>A through line for Wang in his rapidly unfolding filmography is family. An earlier short of his, \u003cem>3,000 Miles\u003c/em>, tenderly stitches together voicemails left by his mother while Wang was living in New York. It concludes sweetly in their reunion. To Wang, his role as a filmmaker is to consider his strongest emotions — and more often than not, those feelings are connected to family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Making films about my family helps me bridge the gap in my life as a human — seeing my mom not just as my mom or my grandmother not just as my grandmother but as people,” Wang says. “I’m still learning to bridge that gap.”\u003c/p>\n\u003cp>Now, Wang’s family life will converge, of all places, at the Academy Awards.\u003c/p>\n\u003cp>“We’re going to the Oscars and I’m going with my grandmas,” Wang says, smiling. “It’s just, like, a sentence I never thought I would say.”\u003c/p>\n\u003cp>For their part, Yi and Chang describe their feelings about attending the Oscars with their grandson in excited unison. “Wonderful! Wonderful!” they shout in English. Asked who they’re looking forward to meeting, Chang considers for a moment.\u003c/p>\n\u003cp>“Will Ang Lee be there?” she says.\u003c/p>\n\u003cp>But amid their disbelief, Chang and Yi think there’s an important lesson to be found in the success of \u003cem>Nǎi Nai and Wài Pó\u003c/em> that doesn’t have to do with them, but in the grandson behind the camera. Even if the film concludes with Chang cursing Wang as a “freakin’ brat.”\u003c/p>\n\u003cp>“I want people to realize, especially parents: Don’t force your children to walk the path that you want them to walk,” Yi says. “Encourage them and support them in their interests, and be open to the paths that they’re naturally gravitating towards. Try to water those seeds.”\u003c/p>\n\u003cp>Yi and Chang have become famous enough that casting directors have reached out to Wang about other movies. Wang recently relayed an audition offer to Chang for a film shooting in New York. She said she’d have to read the script first.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Says Wang: “They’re offer only.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Franklin From ‘Peanuts’ Gets to Shine in the Spotlight of a New Apple TV+ Special",
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"content": "\u003cp>The mild-mannered Franklin — the first Black character in the \u003cem>Peanuts\u003c/em> comic strip — gets to shine in his own animated Apple TV+ special this month in a story about friendship.\u003c/p>\n\u003cp>Franklin is a newcomer who bonds with Charlie Brown and is welcomed to the \u003cem>Peanuts\u003c/em> universe in \u003cem>Snoopy Presents: Welcome Home, Franklin\u003c/em>, which premieres on Friday.\u003c/p>\n\u003cp>[aside postid='arts_13852729']Co-writer \u003ca href=\"https://www.robbarmstrong.com/\">Robb Armstrong\u003c/a>, the cartoonist behind the \u003cem>JumpStart\u003c/em> strip, says he’s building on the blueprints that \u003cem>Peanuts\u003c/em> creator Charles Schulz left. “Whenever you start with good ingredients, you have to work hard to make a bad cake out of it,” he says.\u003c/p>\n\u003cp>Race is never explicitly mentioned but Armstrong and co-writer Scott Montgomery make a subtle nod when Franklin surveys the kids in his new town and remarks, “One thing was for sure: There was a lack of variety in this place.”\u003c/p>\n\u003cp>“I never wanted to come off preachy or anything, but it needed to be handled in the same way that I handled it in \u003cem>JumpStart\u003c/em>,” says Armstrong. “I don’t come out and call people anything. I let the characters participate in a problem solving process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The portrait of Franklin that emerges is of a boy who likes baseball and outer space, is good with his hands and listens to Stevie Wonder, Little Richard, James Brown and John Coltrane.\u003c/p>\n\u003cp>When he arrives in town, he’s tired of a life constantly moving, since his father’s military job takes them from location to location. “I have lived in lot of different places but none that I can call home,” he says.\u003c/p>\n\u003cp>But his introduction to the \u003cem>Peanuts\u003c/em> gang initially goes poorly. He mistakes Lucy’s psychiatric booth for a lemonade stand and he freaks Linus out by picking a pumpkin from his patch. “If I didn’t know better, I’d swear I was in \u003cem>The Twilight Zone\u003c/em>,” Franklin says.\u003c/p>\n\u003cp>“Every time he’s moved, he’s had to learn how to make friends quick and that meant that he didn’t feel he could ever be his authentic self,” said director and story editor Raymond S. Persi. “So when he comes to this town, his normal tricks don’t work because these are kind of weird kids.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go–Gzu_qGg\u003c/p>\n\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>[aside postid='arts_13938421']Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Franklin made his first appearance in the newspaper strip on July 31, 1968, prompted by a request from a school teacher for Schulz to integrate his comic strip world in the wake of the assassination of The Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Schulz introduced him by having Franklin return Charlie Brown’s wayward beach ball one day by the sea. It was a historical meeting and a statement: Many public beaches, like other public facilities such as schools, swimming pools, theaters and restaurants, were segregated at the time.\u003c/p>\n\u003cp>The new Apple TV+ special recreates that first meeting, with Franklin returning Charlie Brown’s errant beach ball and then the two building a sandcastle together.\u003c/p>\n\u003cp>“To have this very simple idea of two children who don’t know about racism, having fun playing at the beach, building something together, I think was just so smart,” said Persi.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Go'\n title='//www.youtube.com/embed/Go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin and Charlie Brown soon enter a soap box derby competition and their friendship is tested before a deep bond is forged. “They’re not perfect. I’m not perfect. But we can get through the rough spots together, as friends,” Franklin says.\u003c/p>\n\u003cp>“What I really like about the special is you’re getting a chance to see this friendship kind of grow in real time, in the way that real friendships do,” says Persi, who has directed animated projects with \u003cem>The Simpsons\u003c/em>, Mickey Mouse and the Minions.\u003c/p>\n\u003cp>As usual for a \u003cem>Peanuts\u003c/em> show, music plays a key role. Original music by Jeff Morrow leans into sophisticated jazz and, in nods to Franklin, Berry’s “Johnny B. Goode,” “Nothing from Nothing” by Billy Preston and some Coltrane playing on a jukebox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Armstrong has also used the special to correct some misperceptions about the 1973 classic \u003cem>A Charlie Brown Thanksgiving\u003c/em>. In that special, Franklin sits by himself on one side of the Thanksgiving table, leading some to suggest he’s not been fully embraced. In the new special, Franklin is specifically asked to come sit with his new pals on their side during a pizza party celebration.\u003c/p>\n\u003cp>Armstrong says he started with that scene and then had to figure out how the gang got there. The writers came up with a soap box derby. “We needed something that was very highly action-oriented and packed with great risk. It had to be a competition,” Armstrong says.\u003c/p>\n\u003cp>The special has plenty of lessons for kids and adults — winning isn’t everything, friendships can be messy but rewarding, and be your authentic self.\u003c/p>\n\u003cp>“What I’d like people to get out of it is that you don’t have to be something different for other people. Being yourself is what’s going to bring the right people into your lives,” says Persi.\u003c/p>\n\u003cp>Armstrong, who grew up revering Schulz, has a deep connection to Franklin. He became a cartoonist and a friend to Schulz. It was Schulz himself who asked the younger cartoonist if he would lend his last name to the character. So to have him years later spotlight Franklin in a TV special seems almost divine intervention.\u003c/p>\n\u003cp>“Sometimes a miracle happens,” says Armstrong. “If someone’s got a better answer, I’d love to hear it. I’m just convinced that sometimes God gets involved. And this is that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Snoopy Presents: Welcome Home, Franklin’ begins streaming on Apple TV+ on Feb. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dakota Johnson Just About Saves ‘Madame Web’ From its Own Mess",
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"content": "\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>[aside postid='arts_13951751']It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_76M4c4LTo\u003c/p>\n\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\u003c/p>\n\u003cp>\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/s_76M4c4LTo'\n title='//www.youtube.com/embed/s_76M4c4LTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF IndieFest Is a Valentine to Movies and Movie Lovers",
"headTitle": "SF IndieFest Is a Valentine to Movies and Movie Lovers | KQED",
"content": "\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>[aside postID='arts_13951535']The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Two festival standouts, ‘Sorry We’re Dead’ and ‘LaRoy,’ exude the exuberance of making movies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movie business is in a perennial state of constant tension between ambition and collaboration, joyful inventiveness and jaw-dropping paydays. This roiling undercurrent, usually invisible to the public, gushes to the surface in the run-up to the Academy Awards ceremony. There is an antidote, however, to Hollywood’s annual backslapathon: SF IndieFest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 26-year-old flagship of Jeff Ross and company’s calendar of film events, the \u003ca href=\"https://sfindie2024.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> (Feb. 8–18 at the Roxie Theater and online) is a beacon to anybody excited by the basic impulse of making movies. In its heart of hearts, IndieFest is a celebration of the minor miracle of finishing a film and getting it up on a screen in front of a live audience.\u003c/p>\n\u003cp>Think low budget, not low bar. A terrific example in this year’s festival is \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/658c881f71ec9f00475f0421\">Sorry We’re Dead\u003c/a>\u003c/em>, the anything-goes feature debut of East Bay writer-director Alex Zajicek. His twentysomething protagonist Lana Jing, developed with actress Sarah Lee in a trio of short films (\u003cem>I Edit Lectures\u003c/em>, \u003cem>How to Be Animated\u003c/em>, \u003cem>Losing My Head\u003c/em>) going back to 2018, is a frustrated wannabe screenwriter and filmmaker stuck in a sub-entry-level job cleaning up the video recordings of deathly dull university lectures.\u003c/p>\n\u003cp>Thankfully, \u003cem>Sorry We’re Dead\u003c/em> is an angst-free, deadpan charmer that doesn’t ascribe a great deal of weight to Lana’s rite of passage. The reed-thin plot – Lana sleepily zaps an external hard drive instead of a generic Pop-Tart in the microwave, with blame for the lost lectures falling on coworker Burd Juarez (gifted physical comedian Davied Morales) — is merely a scarecrow (a poor man’s MacGuffin, if you will) to hang a succession of sight and sound gags employing all manner of techniques, including onscreen text, stop-motion animation and breaking the fourth wall.\u003c/p>\n\u003cfigure id=\"attachment_13951998\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg\" alt='Person with \"L\" label on forehead lays on bed, label maker at side' width=\"1920\" height=\"810\" class=\"size-full wp-image-13951998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/SORRY-WERE-DEAD-1536x648.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alex Zajicek’s ‘Sorry We’re Dead,’ which plays Feb. 10 and streams online. \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the hands of a typical film-school graduate, the film could easily play as a shameless audition reel. Instead, Zajicek (aided and abetted by the patron saint of Bay Area indies, producer and cinematographer Frazer Bradshaw) neatly passes off all of his ideas and experiments (including the witty hash he cooks up on the soundtrack with sound designer Kent Sparling and sound mixer David Silverberg) as Lana’s latent creative wizardry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director and actress are seamlessly in sync, with Lee (who has a producer credit) nailing every bit of business, prop, line reading and head-tilt required to not only execute the continuous stream of audio/visual stunts but to convince us that Lana just might have the imagination and savvy (if not the self-confidence) to write and direct a film one day.\u003c/p>\n\u003cp>Conceived and crafted as a tongue-in-cheek ode to filmmaking (complete with ironic references to classic three-act structure), \u003cem>Sorry We’re Dead\u003c/em> distinguishes itself from the countless other movies about a socially awkward, smart-mouth underachiever with a nonexistent love life and a well-intended but misguided mother. (And, while we’re at it, from almost every other “portrait of the artist as a young person.”)\u003c/p>\n\u003cp>This free-range, rule-mocking approach to movie grammar, sound and storytelling reminded me of \u003cem>Schizopolis\u003c/em> (1996), Steven Soderbergh’s fifth and probably least-seen feature. When Lana slaps a Post-It note with the word “dead” over the “Sorry we’re closed” sign on her office door in Zajicek’s film, she hits a self-deprecating, anti-corporate note that echoes Soderbergh’s subversive business-world comedy.\u003c/p>\n\u003cfigure id=\"attachment_13951999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg\" alt=\"Two people sit at a bar in red light\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13951999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Photo-1-LaRoy_Preliminary_Still_14-1536x643.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Magaro and Steve Zahn in Shane Atkinson’s ‘LaRoy.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to rule-breaking local films, SF IndieFest has a soft spot for genre films, a time-honored point of entry for young filmmakers. Shane Atkinson’s debut feature \u003cem>\u003ca href=\"https://sfindie2024.eventive.org/schedule/657bea798b9aac0048030f68\">LaRoy\u003c/a>\u003c/em> pleasurably follows the dusty trail of Texas noirs that the Coen Brothers first traversed in \u003cem>Blood Simple\u003c/em>, albeit without the gut-wrench of tragedy.\u003c/p>\n\u003cp>\u003cem>LaRoy\u003c/em> (a place, not a person) opens with a seemingly milquetoast driver (Dylan Baker, one of the great character actors of our time) picking up a stranded stranger on a dark road. Their banter takes an ominous turn, writing an IOU to be collected later. The next scene establishes the film’s goofier side, with self-appointed private detective Skip (Steve Zahn in fine form) generously giving sad sack Ray (John Magaro of \u003cem>Past Lives\u003c/em>) unsolicited photos of his wife ducking into a motel for a tryst.\u003c/p>\n\u003cp>As is usually the case in small-time crime yarns, the characters in \u003cem>LaRoy\u003c/em> don’t display a lot of intelligence. That’s about the only explanation why Ray, in the wrong place at the wrong time and mistaken for a contract killer, accepts a bundle of cash to kill a complete stranger.\u003c/p>\n\u003cp>It could happen to anyone, of course, anyone whose wife needs a chunk of change to open a high-end beauty salon and who doesn’t want to lose her. Ray’s problem, which in the unnatural course of events becomes everyone’s problem, is that the job he poached was Dylan Baker’s.\u003c/p>\n\u003cp>The cast — except for Magaro, who has to play dumb and lovelorn — has plenty of fun with the script’s shenanigans. Along with “greed and betrayal do not pay,” \u003cem>LaRoy\u003c/em> delivers another moral: Don’t talk to strangers. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sfindie2024.eventive.org/welcome\">The San Francisco Independent Film Fest\u003c/a> takes place Feb. 8–18 at the Roxie Theater and streams online.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Food, Glorious Food (and Other Pleasures) in ‘The Taste of Things’",
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"content": "\u003cp>\u003cem>The Taste of Things\u003c/em> should come with a warning: Audiences may be tempted to abandon work as they know it and start a beautiful, calm new life in the French countryside devoted to the culinary arts.\u003c/p>\n\u003cp>[aside postid='arts_13951641']There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKKCGtoIOVY\u003c/p>\n\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>[aside postid='arts_13950994']There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cKKCGtoIOVY'\n title='//www.youtube.com/embed/cKKCGtoIOVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable",
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"content": "\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>[aside postid='arts_13951126']This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=POOeA3zCuUY\u003c/p>\n\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\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/POOeA3zCuUY'\n title='//www.youtube.com/embed/POOeA3zCuUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude",
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"content": "\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>[aside postid='arts_81994']Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>[aside postid='arts_13951535']He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HTgWYojq-z8\u003c/p>\n\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>[aside postid='arts_13951078']That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\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/HTgWYojq-z8'\n title='//www.youtube.com/embed/HTgWYojq-z8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session | KQED",
"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>“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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"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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