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"content": "\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>[aside postid='pop_108851']His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13897888']Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n",
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"title": "How the Web Series and Album ‘Rent Check’ Are Fueling a ‘San Francisco Renaissance’",
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"content": "\u003cp>[dropcap]O[/dropcap]n a Thursday night in rapper-producer \u003ca href=\"https://www.instagram.com/aft.fng/\">Afterthought\u003c/a>’s home studio in the Fillmore, he, fellow musician \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> and comedian \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans Jr.\u003c/a> are plotting out the weekend’s itinerary. It’s the two-year anniversary of their 17-member artist collective, \u003ca href=\"https://www.instagram.com/familynotagroup__/\">Family Not a Group\u003c/a> (FNG), and there are Costco trips to be made (they’re cooking jambalaya for 100 people for their anniversary party at El Rio) and a half-dozen friends’ DJ gigs to hit up.\u003c/p>\n\u003cp>Afterthought is still jet-lagged from his tour in Europe, and Baghead hasn’t even had the chance to take off his nametag from the school where he and Evans work by day. The three are tired and hungry, yet fueled by the excitement of dreams within reach — it’s all in a day’s work for up-and-coming creatives who were born, raised and working hard to stay rooted in one of the most expensive cities in the U.S.\u003c/p>\n\u003cp>That sense of hope and precarity is the backdrop of \u003ca href=\"https://www.youtube.com/playlist?list=PLrtmArB3wmUWthlTLmCihg0YHisf4UU3K\">\u003ci>Rent Check\u003c/i>\u003c/a>, a new web series starring Evans as a fictional version of himself — a relatable, tie-dye-wearing striver trying to make it in San Francisco. Evans started writing it in 2019, and the project catalyzed the formation of FNG, who came together during the recording of the accompanying \u003ci>Rent Check\u003c/i> album in 2021. In the two years since, FNG’s momentum seems to have grown exponentially: the crew’s many endeavors have had a lift-all-boats effect for young, diverse artists from the City, and the energy is contagious.\u003c/p>\n\u003cp>“A lot of people who are around us think about us as having elevated to a level or whatever,” says Afterthought, who executive produced the \u003ci>Rent Check\u003c/i> album with Evans and Baghead. “But we still have no money, and most of us work regular jobs in addition to being artists. It’s the hardest position where it’s like, ‘Do I quit and be so uncertain?’ — which is basically what \u003cem>Rent Check\u003c/em> is dealing with.”\u003c/p>\n\u003cp>https://youtu.be/amSk_NUZUn0?si=-t55CtKinvdIWaI8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The community-funded web series was a huge, collective effort. Evans co-directed \u003ci>Rent Check\u003c/i> with Jules Retzlaff, and the small, independent \u003ca href=\"https://www.instagram.com/surgemediacollective/\">Surge Media Collective\u003c/a>’s Jill Hill and Annie Aguirre came on as producers. The cast includes many FNG members and standout Bay Area musicians like \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">La Doña\u003c/a>. After its YouTube release in May, the show will get a proper celebration Nov. 4 at the \u003ca href=\"https://www.brava.org/all-events/rent-check\">Brava Theater\u003c/a> with a screening and live performance of the \u003ci>Rent Check\u003c/i> album, which hits streaming platforms on Nov. 3.\u003c/p>\n\u003cp>“I think it’s very Bay Area and of us to have been like, ‘We’re gonna do this shit grassroots and do this shit on our own,’” Evans says.\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. holds a basketball signed by everyone who collaborated on his web series, ‘Rent Check,’ in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n \u003ci>Rent Check\u003c/i>’s surreal vignettes, as the fictional Evans communes with a hyphy ghost and battles bullies on the basketball court, the 12 episodes coalesce into an absurd, hilarious and at-times poignant story about a young man’s search for meaning and belonging.\u003c/p>\n\u003cp>Amid gross-out gags and raunchy jokes, \u003ci>Rent Check\u003c/i> is sophisticated in how it blends social and political commentary with humor, building on Bay Area shows and films like Rafael Casal and Daveed Diggs’ \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\">\u003ci>Blindspotting\u003c/i>\u003c/a>, Boots Riley’s \u003ca href=\"https://www.kqed.org/arts/13930923/tune-yards-boots-riley-im-a-virgo\">\u003ci>I’m a Virgo\u003c/i>\u003c/a> and Joe Talbot’s \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>Last Black Man of San Francisco\u003c/i>\u003c/a> (whose star, Jimmie Fails, plays a fitness coach in \u003cem>Rent Check\u003c/em>). Race, gentrification and inequality are the focal points of those works, but \u003ci>Rent Check\u003c/i> doesn’t strain to overly explain itself. Instead, social injustices are the backdrop of Evans’ misadventures, and, by trusting the viewer to \u003ci>get it\u003c/i>, the show is able to take the conversation to interesting places.\u003c/p>\n\u003cp>https://youtu.be/aJy_-GNJysQ?si=jBCAXG9c6RzEPf5S\u003c/p>\n\u003cp>A particularly hard-hitting episode called \u003ci>Pimp of the Year\u003c/i> explores a viewpoint often heard on the street level of Bay Area activism, about the limitations of electoral politics. While smoking weed dressed as Spiderman on Halloween, days before the 2020 election, the fictional Evans argues the importance of voting blue to two friends (in cheesy zebra-print coats and dollar-sign necklaces) who insist that all politicians are pimps.\u003c/p>\n\u003cp>“A president never change shit in the hood, bro,” says a character played by rapper-activist \u003ca href=\"https://www.kqed.org/arts/13936224/hyphy-kids-got-trauma-pt-4-my-generations-report-card\">Rich Iyala\u003c/a>. “Never! As far as I’m concerned, it’s just another white man in power.”\u003c/p>\n\u003cp>To Evans, the encounter hasn’t lost its relevance in 2023. “In all reality, it’s like no matter who the president is, they’re still a part of the same fucked up machine that’s literally killing babies across across the world right now,” Evans says. “In that episode I play the character of the typical person that believes in the two-party system, that believes all Democrats are our saviors.” [aside label='More on San Francisco Artists' postid='arts_13934125,arts_13928057,arts_13932870']\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hese political conversations aren’t just happening on screen. Evans met Iyala on a trip to Sacramento to protest statewide police brutality, and many of the \u003ci>Rent Check\u003c/i> collaborators have a history of boots-on-the-ground social justice activism. Evans connected with \u003ci>Rent Check\u003c/i> series co-director Jules Retzlaff while campaigning for justice for Mario Woods, who was killed by the San Francisco Police Department in 2015. And in 2016, Retzlaff and \u003ci>Rent Check\u003c/i> album executive producer Baghead were two of the four \u003ca href=\"https://www.kqed.org/news/10944195/s-f-state-students-go-on-hunger-strike-for-raise-in-ethnic-studies-budget\">San Francisco State University students who participated in a hunger strike\u003c/a> in response to cuts to the ethnic studies department.\u003c/p>\n\u003cp>The crew’s politics come across poignantly on the \u003ci>Rent Check\u003c/i> album track “Cut the Stimmy” by EaSWay, Frak, Afterthought and Kaly Jay (who plays the aforementioned hyphy ghost), where a chorus of “fuck Joe Biden” is rambunctious enough to incite a mosh pit.\u003c/p>\n\u003cp>https://youtu.be/i_TJpYcz2lc?si=8P1M6jraAnHGDDEq\u003c/p>\n\u003cp>“The way we’re pushing the song now is trying to express that politics is about who has right to food and water, who has a right to shelter, who doesn’t,” says Baghead. “Whether it’s gentrification in San Francisco or what’s happening in Palestine, we see the establishment as people who continue to support the structures that are in place now that will put profit — put wealth, capital — over people’s lives.”\u003c/p>\n\u003cp>The \u003ci>Rent Check\u003c/i> crew and FNG might look like they’re all about having a good time on the surface, but there’s a deeper purpose to bringing people together through laughter. After so many working class people and artists have been pushed out, Baghead calls what they’re doing the “San Francisco renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13936839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg\" alt=\"A collage of polaroid-type photos of people hand on a wall indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photos of ‘Rent Check’ collaborators hang on the door of Afterthought’s home studio in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Really what I want for us is more stability in our artistic careers and in San Francisco — that’s the constant fight that we’re battling,” says Afterthought, noting the album and many FNG projects wouldn’t have happened without his parents generously opening their home to their huge crew of 20-somethings. “I get a parking ticket now and it’s like, all right, well, I gotta pay for the parking ticket, or I pay for this music video.”\u003c/p>\n\u003cp>“We have hella fun, but we’re still creating music in spaces where we’re critically thinking about what’s happening and what our role is as a people,” Baghead adds, “What can we do, you know? And doing it from a place of knowing that we deserve to have joy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Rent Check film screening and concert takes place at the Brava Theater in San Francisco on Nov. 4. \u003ca href=\"https://www.brava.org/all-events/rent-check\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The grassroots project led by comedian Mike Evans Jr. and Family Not a Group galvanized the City's young creatives.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Thursday night in rapper-producer \u003ca href=\"https://www.instagram.com/aft.fng/\">Afterthought\u003c/a>’s home studio in the Fillmore, he, fellow musician \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> and comedian \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans Jr.\u003c/a> are plotting out the weekend’s itinerary. It’s the two-year anniversary of their 17-member artist collective, \u003ca href=\"https://www.instagram.com/familynotagroup__/\">Family Not a Group\u003c/a> (FNG), and there are Costco trips to be made (they’re cooking jambalaya for 100 people for their anniversary party at El Rio) and a half-dozen friends’ DJ gigs to hit up.\u003c/p>\n\u003cp>Afterthought is still jet-lagged from his tour in Europe, and Baghead hasn’t even had the chance to take off his nametag from the school where he and Evans work by day. The three are tired and hungry, yet fueled by the excitement of dreams within reach — it’s all in a day’s work for up-and-coming creatives who were born, raised and working hard to stay rooted in one of the most expensive cities in the U.S.\u003c/p>\n\u003cp>That sense of hope and precarity is the backdrop of \u003ca href=\"https://www.youtube.com/playlist?list=PLrtmArB3wmUWthlTLmCihg0YHisf4UU3K\">\u003ci>Rent Check\u003c/i>\u003c/a>, a new web series starring Evans as a fictional version of himself — a relatable, tie-dye-wearing striver trying to make it in San Francisco. Evans started writing it in 2019, and the project catalyzed the formation of FNG, who came together during the recording of the accompanying \u003ci>Rent Check\u003c/i> album in 2021. In the two years since, FNG’s momentum seems to have grown exponentially: the crew’s many endeavors have had a lift-all-boats effect for young, diverse artists from the City, and the energy is contagious.\u003c/p>\n\u003cp>“A lot of people who are around us think about us as having elevated to a level or whatever,” says Afterthought, who executive produced the \u003ci>Rent Check\u003c/i> album with Evans and Baghead. “But we still have no money, and most of us work regular jobs in addition to being artists. It’s the hardest position where it’s like, ‘Do I quit and be so uncertain?’ — which is basically what \u003cem>Rent Check\u003c/em> is dealing with.”\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/amSk_NUZUn0'\n title='//www.youtube.com/embed/amSk_NUZUn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community-funded web series was a huge, collective effort. Evans co-directed \u003ci>Rent Check\u003c/i> with Jules Retzlaff, and the small, independent \u003ca href=\"https://www.instagram.com/surgemediacollective/\">Surge Media Collective\u003c/a>’s Jill Hill and Annie Aguirre came on as producers. The cast includes many FNG members and standout Bay Area musicians like \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">La Doña\u003c/a>. After its YouTube release in May, the show will get a proper celebration Nov. 4 at the \u003ca href=\"https://www.brava.org/all-events/rent-check\">Brava Theater\u003c/a> with a screening and live performance of the \u003ci>Rent Check\u003c/i> album, which hits streaming platforms on Nov. 3.\u003c/p>\n\u003cp>“I think it’s very Bay Area and of us to have been like, ‘We’re gonna do this shit grassroots and do this shit on our own,’” Evans says.\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. holds a basketball signed by everyone who collaborated on his web series, ‘Rent Check,’ in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n \u003ci>Rent Check\u003c/i>’s surreal vignettes, as the fictional Evans communes with a hyphy ghost and battles bullies on the basketball court, the 12 episodes coalesce into an absurd, hilarious and at-times poignant story about a young man’s search for meaning and belonging.\u003c/p>\n\u003cp>Amid gross-out gags and raunchy jokes, \u003ci>Rent Check\u003c/i> is sophisticated in how it blends social and political commentary with humor, building on Bay Area shows and films like Rafael Casal and Daveed Diggs’ \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\">\u003ci>Blindspotting\u003c/i>\u003c/a>, Boots Riley’s \u003ca href=\"https://www.kqed.org/arts/13930923/tune-yards-boots-riley-im-a-virgo\">\u003ci>I’m a Virgo\u003c/i>\u003c/a> and Joe Talbot’s \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>Last Black Man of San Francisco\u003c/i>\u003c/a> (whose star, Jimmie Fails, plays a fitness coach in \u003cem>Rent Check\u003c/em>). Race, gentrification and inequality are the focal points of those works, but \u003ci>Rent Check\u003c/i> doesn’t strain to overly explain itself. Instead, social injustices are the backdrop of Evans’ misadventures, and, by trusting the viewer to \u003ci>get it\u003c/i>, the show is able to take the conversation to interesting places.\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/aJy_-GNJysQ'\n title='//www.youtube.com/embed/aJy_-GNJysQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A particularly hard-hitting episode called \u003ci>Pimp of the Year\u003c/i> explores a viewpoint often heard on the street level of Bay Area activism, about the limitations of electoral politics. While smoking weed dressed as Spiderman on Halloween, days before the 2020 election, the fictional Evans argues the importance of voting blue to two friends (in cheesy zebra-print coats and dollar-sign necklaces) who insist that all politicians are pimps.\u003c/p>\n\u003cp>“A president never change shit in the hood, bro,” says a character played by rapper-activist \u003ca href=\"https://www.kqed.org/arts/13936224/hyphy-kids-got-trauma-pt-4-my-generations-report-card\">Rich Iyala\u003c/a>. “Never! As far as I’m concerned, it’s just another white man in power.”\u003c/p>\n\u003cp>To Evans, the encounter hasn’t lost its relevance in 2023. “In all reality, it’s like no matter who the president is, they’re still a part of the same fucked up machine that’s literally killing babies across across the world right now,” Evans says. “In that episode I play the character of the typical person that believes in the two-party system, that believes all Democrats are our saviors.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hese political conversations aren’t just happening on screen. Evans met Iyala on a trip to Sacramento to protest statewide police brutality, and many of the \u003ci>Rent Check\u003c/i> collaborators have a history of boots-on-the-ground social justice activism. Evans connected with \u003ci>Rent Check\u003c/i> series co-director Jules Retzlaff while campaigning for justice for Mario Woods, who was killed by the San Francisco Police Department in 2015. And in 2016, Retzlaff and \u003ci>Rent Check\u003c/i> album executive producer Baghead were two of the four \u003ca href=\"https://www.kqed.org/news/10944195/s-f-state-students-go-on-hunger-strike-for-raise-in-ethnic-studies-budget\">San Francisco State University students who participated in a hunger strike\u003c/a> in response to cuts to the ethnic studies department.\u003c/p>\n\u003cp>The crew’s politics come across poignantly on the \u003ci>Rent Check\u003c/i> album track “Cut the Stimmy” by EaSWay, Frak, Afterthought and Kaly Jay (who plays the aforementioned hyphy ghost), where a chorus of “fuck Joe Biden” is rambunctious enough to incite a mosh pit.\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/i_TJpYcz2lc'\n title='//www.youtube.com/embed/i_TJpYcz2lc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The way we’re pushing the song now is trying to express that politics is about who has right to food and water, who has a right to shelter, who doesn’t,” says Baghead. “Whether it’s gentrification in San Francisco or what’s happening in Palestine, we see the establishment as people who continue to support the structures that are in place now that will put profit — put wealth, capital — over people’s lives.”\u003c/p>\n\u003cp>The \u003ci>Rent Check\u003c/i> crew and FNG might look like they’re all about having a good time on the surface, but there’s a deeper purpose to bringing people together through laughter. After so many working class people and artists have been pushed out, Baghead calls what they’re doing the “San Francisco renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13936839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg\" alt=\"A collage of polaroid-type photos of people hand on a wall indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photos of ‘Rent Check’ collaborators hang on the door of Afterthought’s home studio in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Really what I want for us is more stability in our artistic careers and in San Francisco — that’s the constant fight that we’re battling,” says Afterthought, noting the album and many FNG projects wouldn’t have happened without his parents generously opening their home to their huge crew of 20-somethings. “I get a parking ticket now and it’s like, all right, well, I gotta pay for the parking ticket, or I pay for this music video.”\u003c/p>\n\u003cp>“We have hella fun, but we’re still creating music in spaces where we’re critically thinking about what’s happening and what our role is as a people,” Baghead adds, “What can we do, you know? And doing it from a place of knowing that we deserve to have joy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Rent Check film screening and concert takes place at the Brava Theater in San Francisco on Nov. 4. \u003ca href=\"https://www.brava.org/all-events/rent-check\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alexander Payne Keeps Real Emotion at Bay in the Coyly Comic ‘Holdovers’",
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"content": "\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A \u003ca href=\"https://www.scholarsandstorytellers.com/css-teens-and-screens-2023\">new study\u003c/a> about young Americans’ entertainment consumption habits shows that Generation Z is far more interested in seeing stories of platonic relationships on screen than those featuring sex and romance.\u003c/p>\n\u003cp>[aside postid='pop_107900']More than half of the 1,500 young people who participated in the University of California Los Angeles’s (UCLA) Center for Scholars and Storytellers “Teens and Screens” survey said they want to see more content focused on friendships. Nearly 40% said they particularly want to see more non-romantic relationships or asexual characters on screen. The majority of respondents said they felt that romance in media is overused. (The study in its entirety included youth aged 10-24, but questions relating specifically to sex and romance on screen were only asked of a subset aged 13-24.)\u003c/p>\n\u003cp>The research team is labeling this trend as “nomance.”\u003c/p>\n\u003cp>“When there’s media with too much sex, me and my friends often feel uncomfortable,” said survey respondent Ana, age 16, in a video released by UCLA to accompany the study.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aivCR4dex9s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My friends are I maybe awkwardly bear through it,” said 20-year-old respondent Joseph.\u003c/p>\n\u003cp>The research team said Gen Z’s chaste entertainment preferences stem from a craving for feel-good character relationships following the isolation of the pandemic years.\u003c/p>\n\u003cp>“Young people are feeling a lack of close friendships, a separation from their community, and a sense that their digital citizen identity has superseded their sense of belonging in the real world,” wrote researchers Stephanie Rivas-Lara and Hiral Kotecha in \u003ca href=\"https://www.scholarsandstorytellers.com/blog/a-note-from-the-gen-z-authors-of-the-2023-teens-and-screens-report\">an essay\u003c/a> expanding on the survey results.\u003c/p>\n\u003cp>[aside postid='pop_78777']“The core essence of kids and teens will always be the same — from camaraderie to curiosity and a sense of adventure — and it appears that somewhere along the way, this may have been forgotten in storytelling.”\u003c/p>\n\u003cp>The UCLA research team did not ask the surveyed youth if they sought out sexual or pornographic content outside the realm of TV, movies and social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not that young people aren’t interested in TV, movies and other media with sexual content, it’s that they want to see more and different types of relationships,” said UCLA Center for Scholars and Storytellers founder Yalda Uhls. “We did not specifically ask about porn so I couldn’t say for sure. But one theory could be that the prevalence of porn could be a reason why they feel they want to see less sexual content in traditional media.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+%27nomance%27%3A+Study+finds+teens+want+less+sex+in+their+TV+and+movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The core essence of kids and teens will always be the same — from camaraderie to curiosity and a sense of adventure — and it appears that somewhere along the way, this may have been forgotten in storytelling.”\u003c/p>\n\u003cp>The UCLA research team did not ask the surveyed youth if they sought out sexual or pornographic content outside the realm of TV, movies and social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not that young people aren’t interested in TV, movies and other media with sexual content, it’s that they want to see more and different types of relationships,” said UCLA Center for Scholars and Storytellers founder Yalda Uhls. “We did not specifically ask about porn so I couldn’t say for sure. But one theory could be that the prevalence of porn could be a reason why they feel they want to see less sexual content in traditional media.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+%27nomance%27%3A+Study+finds+teens+want+less+sex+in+their+TV+and+movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Teen Dreams and Adult Nightmares in Sofia Coppola’s ‘Priscilla’",
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"content": "\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>[aside postid='arts_13936873']But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DBWk6BohVXk\u003c/p>\n\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>[aside postid='arts_13936929']There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\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/DBWk6BohVXk'\n title='//www.youtube.com/embed/DBWk6BohVXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Documentary Paints an Intimate Portrait of Chesa Boudin’s Family",
"headTitle": "A New Documentary Paints an Intimate Portrait of Chesa Boudin’s Family | KQED",
"content": "\u003cp>On the campaign trail and news reports, Chesa Boudin has long been open about his family history — growing up with parents who were incarcerated for decades, and how the experience inspired him to become a public defender and eventually run for San Francisco district attorney.\u003c/p>\n\u003cp>Most of us know the story of Boudin’s meteoric star rise. In 2019, at a moment when progressive-minded candidates were running for district attorney’s offices across the country, he won election. He ran on a platform focused on criminal justice reforms with the goal of reducing mass incarceration. Then, just a few days after being sworn into office, he faced a million-dollar recall effort, which ultimately succeeded. Boudin only served for two years.[aside postid='news_11913102']\u003c/p>\n\u003cp>“We definitely made some mistakes and I learned an awful lot during my time in office,” Boudin told KQED. “There are no two things we could have done differently that would have prevented what happened.”\u003c/p>\n\u003cp>This political moment is revisited in the new documentary \u003cem>Beyond Bars: It’s a Movement, Not a Moment\u003c/em>, which premieres Wednesday, Oct. 25 at the main branch of the San Francisco Public Library. Directed by Robert Greenwald, the film puts in parallel Boudin’s political and personal life, featuring on-the-record interviews with his parents and adoptive parents for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13936939\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chesa Boudin is seen at his inauguration in 2020 in a still from the new documentary ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This film is really about the history of racism and mass incarceration in this country. And it’s that same history that led in a circuitous way to my parents’ incarceration — to my own experience with jails and prisons since before I can remember,” Boudin said.\u003c/p>\n\u003cp>Boudin talked more about the film with KQED’s Brian Watt. Their conversation has been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Did the idea for this documentary come from you? Or did someone approach you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chesa Boudin:\u003c/strong> The director of the film reached out to me through my team when I was still serving as San Francisco’s district attorney, and they proposed the documentary. We had a number of similar documentary film crews reach out and ask to work with us, to essentially be embedded in the office and ultimately embedded in my family in many ways.\u003c/p>\n\u003cp>\u003cstrong>You have been open throughout your public life about your family history. When you were a toddler, your parents were arrested and went on to spend decades in prison. In this documentary, we hear from them, as well as your adoptive parents. What was going through your mind as you heard them share their story?\u003c/strong>\u003c/p>\n\u003cp>I was in the room for some of the interviews that made their way into this film. Watching my parents talk about raising me from the distance that incarceration created. Watching them talk about the transition into a new family after I was adopted. Watching them talk about their regret and remorse for the harm they caused not only to me, but also to the families that lost loved ones in ways that are totally irreparable, was a really emotional experience for me.\u003c/p>\n\u003cfigure id=\"attachment_13936940\" class=\"wp-caption aligncenter\" style=\"max-width: 1554px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_JailVisit.png\" alt=\"a polaroid of a small kid with two parents in prison uniforms labeled 'Chesa visits mommy and daddy in jail'\" width=\"1554\" height=\"1112\" class=\"size-full wp-image-13936940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit.png 1554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1536x1099.png 1536w\" sizes=\"(max-width: 1554px) 100vw, 1554px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of young Chesa Boudin visiting his parents in prison. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an emotional place – maybe one you had resisted going for a lot of your life – that you had to go that you weren’t expecting as you sat down to discuss your own personal part of this for the documentary?\u003c/strong>\u003c/p>\n\u003cp>The documentary was filmed and recorded over the course of multiple years, so we did a whole series of different interviews. Some of them were profoundly emotional for me, particularly as I lost my mother to a seven-year battle with cancer.\u003c/p>\n\u003cp>During the filming of this documentary, she died — on May 1, just almost exactly a month before my recall from office. The director of the film and his team were doing interviews with her almost right up until the week of her death. Seeing her decline, and getting to watch and listen to the interview she did as part of this project, and then see them integrated into the final film, has been a really intensely emotional experience.\u003c/p>\n\u003cp>\u003cstrong>As you are dealing with the recall effort, in the documentary, we see difficult circumstances in your family: the loss of your mother to cancer and the release of your father from prison in New York after decades inside. What was going through your mind?\u003c/strong>\u003c/p>\n\u003cp>What happened with the recall was profoundly dishonest and unfair. It was unfair to me, but more importantly, was unfair to the voters and the people of San Francisco who elected me and who did not get to choose the person who replaced me. And to have all that happen while my mother was dying, while I was trying to welcome my father home and help him with the intensely challenging transition after 40 years of incarceration — while I was learning to be a father for a newborn son — couldn’t have been more difficult. Yet I am always reminded of how lucky I am in so many ways, and of the fact that when life throws obstacles in our path, it’s in those moments that we learn what we’re capable of.\u003c/p>\n\u003cfigure id=\"attachment_13936942\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_KathyBoudin.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Boudin is seen in a still from ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As much as the documentary is your story, it’s also a love letter to your mom in a way. What would she make of this next phase of your life beyond the district attorney’s office?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='news_11951826']My mom was always and would always be unwavering in her support, in her love and in her pride and in what I chose to do with my life, with my family. I know most of all she’d be absolutely thrilled to be a grandmother. It was one of the most important things to her in her final months. My mom, after she came home from prison, after her 22 years of incarceration, after she earned a Ph.D. from Columbia, she founded the Center for Justice at Columbia University School of Social Work.\u003c/p>\n\u003cp>And so in many ways, my work and this next chapter of my professional life is a parallel to what my mother did with the last 15 or so years of her life. And I know that we would find ways to collaborate professionally. And in fact, I’m continuing to work with people at the center at Columbia University that she founded and co-directed for so many years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Beyond Bars: It’s a Movement, Not a Moment’ premieres Wednesday, Oct. 25 at a sold-out screening at the main branch of the San Francisco Public Library. The film will also screen in Los Angeles in December. The film is expected to be available for streaming in January.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the campaign trail and news reports, Chesa Boudin has long been open about his family history — growing up with parents who were incarcerated for decades, and how the experience inspired him to become a public defender and eventually run for San Francisco district attorney.\u003c/p>\n\u003cp>Most of us know the story of Boudin’s meteoric star rise. In 2019, at a moment when progressive-minded candidates were running for district attorney’s offices across the country, he won election. He ran on a platform focused on criminal justice reforms with the goal of reducing mass incarceration. Then, just a few days after being sworn into office, he faced a million-dollar recall effort, which ultimately succeeded. Boudin only served for two years.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We definitely made some mistakes and I learned an awful lot during my time in office,” Boudin told KQED. “There are no two things we could have done differently that would have prevented what happened.”\u003c/p>\n\u003cp>This political moment is revisited in the new documentary \u003cem>Beyond Bars: It’s a Movement, Not a Moment\u003c/em>, which premieres Wednesday, Oct. 25 at the main branch of the San Francisco Public Library. Directed by Robert Greenwald, the film puts in parallel Boudin’s political and personal life, featuring on-the-record interviews with his parents and adoptive parents for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13936939\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chesa Boudin is seen at his inauguration in 2020 in a still from the new documentary ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This film is really about the history of racism and mass incarceration in this country. And it’s that same history that led in a circuitous way to my parents’ incarceration — to my own experience with jails and prisons since before I can remember,” Boudin said.\u003c/p>\n\u003cp>Boudin talked more about the film with KQED’s Brian Watt. Their conversation has been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Did the idea for this documentary come from you? Or did someone approach you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chesa Boudin:\u003c/strong> The director of the film reached out to me through my team when I was still serving as San Francisco’s district attorney, and they proposed the documentary. We had a number of similar documentary film crews reach out and ask to work with us, to essentially be embedded in the office and ultimately embedded in my family in many ways.\u003c/p>\n\u003cp>\u003cstrong>You have been open throughout your public life about your family history. When you were a toddler, your parents were arrested and went on to spend decades in prison. In this documentary, we hear from them, as well as your adoptive parents. What was going through your mind as you heard them share their story?\u003c/strong>\u003c/p>\n\u003cp>I was in the room for some of the interviews that made their way into this film. Watching my parents talk about raising me from the distance that incarceration created. Watching them talk about the transition into a new family after I was adopted. Watching them talk about their regret and remorse for the harm they caused not only to me, but also to the families that lost loved ones in ways that are totally irreparable, was a really emotional experience for me.\u003c/p>\n\u003cfigure id=\"attachment_13936940\" class=\"wp-caption aligncenter\" style=\"max-width: 1554px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_JailVisit.png\" alt=\"a polaroid of a small kid with two parents in prison uniforms labeled 'Chesa visits mommy and daddy in jail'\" width=\"1554\" height=\"1112\" class=\"size-full wp-image-13936940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit.png 1554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1536x1099.png 1536w\" sizes=\"(max-width: 1554px) 100vw, 1554px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of young Chesa Boudin visiting his parents in prison. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an emotional place – maybe one you had resisted going for a lot of your life – that you had to go that you weren’t expecting as you sat down to discuss your own personal part of this for the documentary?\u003c/strong>\u003c/p>\n\u003cp>The documentary was filmed and recorded over the course of multiple years, so we did a whole series of different interviews. Some of them were profoundly emotional for me, particularly as I lost my mother to a seven-year battle with cancer.\u003c/p>\n\u003cp>During the filming of this documentary, she died — on May 1, just almost exactly a month before my recall from office. The director of the film and his team were doing interviews with her almost right up until the week of her death. Seeing her decline, and getting to watch and listen to the interview she did as part of this project, and then see them integrated into the final film, has been a really intensely emotional experience.\u003c/p>\n\u003cp>\u003cstrong>As you are dealing with the recall effort, in the documentary, we see difficult circumstances in your family: the loss of your mother to cancer and the release of your father from prison in New York after decades inside. What was going through your mind?\u003c/strong>\u003c/p>\n\u003cp>What happened with the recall was profoundly dishonest and unfair. It was unfair to me, but more importantly, was unfair to the voters and the people of San Francisco who elected me and who did not get to choose the person who replaced me. And to have all that happen while my mother was dying, while I was trying to welcome my father home and help him with the intensely challenging transition after 40 years of incarceration — while I was learning to be a father for a newborn son — couldn’t have been more difficult. Yet I am always reminded of how lucky I am in so many ways, and of the fact that when life throws obstacles in our path, it’s in those moments that we learn what we’re capable of.\u003c/p>\n\u003cfigure id=\"attachment_13936942\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_KathyBoudin.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Boudin is seen in a still from ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As much as the documentary is your story, it’s also a love letter to your mom in a way. What would she make of this next phase of your life beyond the district attorney’s office?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>My mom was always and would always be unwavering in her support, in her love and in her pride and in what I chose to do with my life, with my family. I know most of all she’d be absolutely thrilled to be a grandmother. It was one of the most important things to her in her final months. My mom, after she came home from prison, after her 22 years of incarceration, after she earned a Ph.D. from Columbia, she founded the Center for Justice at Columbia University School of Social Work.\u003c/p>\n\u003cp>And so in many ways, my work and this next chapter of my professional life is a parallel to what my mother did with the last 15 or so years of her life. And I know that we would find ways to collaborate professionally. And in fact, I’m continuing to work with people at the center at Columbia University that she founded and co-directed for so many years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Beyond Bars: It’s a Movement, Not a Moment’ premieres Wednesday, Oct. 25 at a sold-out screening at the main branch of the San Francisco Public Library. The film will also screen in Los Angeles in December. The film is expected to be available for streaming in January.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women",
"headTitle": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women | KQED",
"content": "\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>[aside postid='arts_13936363']There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDrlpcv4vXE\u003c/p>\n\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>[aside postid='arts_13936754']Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>[aside postid='arts_13936628']The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\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/PDrlpcv4vXE'\n title='//www.youtube.com/embed/PDrlpcv4vXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening",
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"content": "\u003cp>In \u003cem>Nyad\u003c/em>, there are two feats of perseverance on display. First, there is the ceaseless determination of Diana Nyad (Annette Bening) to accomplish a marathon swim from Cuba to Florida across 103 miles of open, shark-infested waters. Then there is the mettle of Nyad’s support team to tolerate the singularly self-absorbed and stubborn Nyad. Both, in the film, are an endurance sport.\u003c/p>\n\u003cp>\u003cem>Nyad\u003c/em>, which opens in limited theaters Friday and streams Nov. 3 on Netflix, is in many ways a conventional sports drama, defined by long odds and personal triumph. But there is enough here to help the film, directed by the intrepid filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin, if not swim against the tide of sports-biopic convention then at least ride a swift current to the finish line.\u003c/p>\n\u003cp>[aside postid='arts_13936628']First and foremost there’s the fact that this is a sports drama led by two actresses in their 60s: Bening and Jodie Foster, who plays Diana’s best friend and personal trainer Bonnie Stoll. When \u003cem>Nyad\u003c/em> gets underway, the setting isn’t the 1970s, when Nyad’s record swims made her a headline-grabbing sensation. It’s Diana’s 60th birthday, which for her only marks her long distance from a real challenge. “Where’s the excellence?” she says.\u003c/p>\n\u003cp>Diana soon thereafter gets back in the pool, resolving to complete the Cuba-to-Florida swim, a route some moviegoers may associate more with the Go-Fast boats of Michael Mann’s \u003cem>Miami Vice\u003c/em> than athletic pursuit. For Diana, the 50-hour endeavor is a matter of completing a long-ago abandoned dream and a way to prove to herself (and everyone else) that age is no match for her will.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, too.\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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Bening is the star, but it’s Foster’s supporting role — warm and easy throughout — that really lifts ‘Nyad.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, too.\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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told",
"headTitle": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told | KQED",
"content": "\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>[aside postid='arts_13935897']But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ\u003c/p>\n\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
"headTitle": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House | KQED",
"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anatomy of a Fall’ Dissects a Marriage and, Maybe, a Murder",
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"content": "\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>[aside postid='arts_13935857']That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MJlpGZuE4R4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>[aside postid='arts_13935897']I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\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/MJlpGZuE4R4'\n title='//www.youtube.com/embed/MJlpGZuE4R4'\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 Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>[aside postid='arts_13933809']If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>[aside postid='arts_13935703']But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhcV1gEat_c\u003c/p>\n\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\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/dhcV1gEat_c'\n title='//www.youtube.com/embed/dhcV1gEat_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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