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"title": "The Best Art I Saw in 2023",
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"content": "\u003cp>It’s that time again — time for a hyper-specific superlative-laden list of the best art experiences I had this year but didn’t get a chance to write about. Looking back at 2023, some throughlines emerged: \u003ca href=\"https://www.kqed.org/arts/13927982/sonya-rapoport-force-fields-casemore-gallery-review\">revisited histories\u003c/a>; revels in \u003ca href=\"https://www.kqed.org/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle\">texture\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review\">sparkle\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">experiments in form\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">small moments stretched\u003c/a> through contemplation. Here’s hoping for more of all of the above (and more art, period) in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13938882\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg\" alt=\"Gallery view of earthen rectangular pedestal covered in small glass and metal cast objects \" width=\"2048\" height=\"1745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1020x869.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1536x1309.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1920x1636.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Kelly Akashi: Formations’ at the San José Museum of Art. \u003ccite>(Benjamin Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Materially Exciting Installation\u003c/h2>\n\u003cp>\u003ci>\u003cb>Kelly Akashi, ‘\u003ca href=\"https://sjmusart.org/exhibition/kelly-akashi-formations\">Formations\u003c/a>’\u003c/b>\u003cbr>\nSan José Museum of Art\u003cbr>\nSept. 3, 2022–May 21, 2023\u003c/i>\u003c/p>\n\u003cp>In this quietly evocative solo show, the artist’s hand was — quite literally — always present, in the form of cast bronze, stainless steel and lead crystal. Akashi’s hands rested on rammed-earth pedestals, hung from thick rope, held glass flowers and actual onions. Throughout \u003ci>Formations\u003c/i>, she elegantly combined these examples of her superb craftsmanship with other modes of measuring both geologic and human time. Among these were photographs, castings and samples of “witnesses” (rocks, trees and earth) to the lives of Japanese Americans — including Akashi’s father — once incarcerated at the Poston War Relocation Center in Arizona.\u003c/p>\n\u003cp>https://youtu.be/bSb585bGYmQ\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Most Instructive Documentary\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://howtoblowupapipeline.film/\">How to Blow Up a Pipeline\u003c/a>’\u003cb>\u003c/b>\u003c/b>\u003c/i>\u003c/p>\n\u003cp>If we’ve entered an era of how-to films for the sake of averting climate disaster, I am here for it. In the vein of this year’s orca uprising, \u003ci>How to Blow Up a Pipeline\u003c/i>, based on \u003ca href=\"https://www.versobooks.com/products/2649-how-to-blow-up-a-pipeline\">Andreas Malm’s 2021 nonfiction book\u003c/a> of the same title, persuasively presents sabotage as the next step in climate activism. Written collaboratively by director Daniel Goldhaber, Jordan Sjol and Ariela Barer (who also stars), the film is a thrilling heist-like narrative about a group of resourceful and determined young people targeting an oil pipeline in West Texas. The “why,” here, is not an imagined future but a clearly evident present of extreme, horrifically deadly weather. The message and the performances are utterly compelling.\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Lobby Art\u003c/h2>\n\u003cp>\u003ci>\u003cb>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">Strips of Stripes\u003c/a>’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSept. 16, 2023–Ongoing\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13839094']It’s been five years since Barbara Stauffacher Solomon graced the Berkeley Art Museum and Pacific Film Archive’s entryway with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">Land(e)scape 2018\u003c/a>\u003c/i>, her stripey, pointy response to both the architecture and the political moment. At SFMOMA, the nearly 95-year-old has been given an even larger canvas and access to adjoining planes. Walls, ceilings, elevator doors and columns flatten and morph under the application of her striking black and red stripes. As the supergraphics wrapping around SFMOMA’s lobby assert — it’s Bobbie’s world, we’re just lucky enough to live in it.\u003c/p>\n\u003cfigure id=\"attachment_13933753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg\" alt=\"A crowd outside of a tile-roofed storefront on a sunny day\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd outside Personal Space during the opening of ‘Salad Days.’ \u003ccite>(Amy Owen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Reasons for Art Optimism\u003c/h2>\n\u003cp>The Bay Area lost some great art spaces this year (most notably, \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">Ratio 3\u003c/a> and McEvoy Foundation for the Arts), but we’ve also had a minor explosion of artist-run spaces and expansions. Lindsay Albert and Ivana Colendich created \u003ca href=\"https://staircase.place/\">staircase\u003c/a> in January (its name tells you everything you need to know about this gallery’s invigorating layout). Cole Solinger and Nicolas Torres opened \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a>, while \u003ca href=\"https://etaletc.com/#/\">Et al.\u003c/a>’s Mission Street outpost expanded their footprint to take over Ratio 3’s former space. In June, Lisa Rybovich Crallé launched Vallejo’s \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">Personal Space\u003c/a> to cheerful crowds. And Et al. rented their former Mission gallery to Nico Colón, who opened \u003ca href=\"https://climatecontrolsf.org/\">Climate Control\u003c/a> in September.\u003c/p>\n\u003cp>[aside postID='arts_13933701']Just last month, Steuart Pittman and Savannah Rusher held the inaugural show (of sign painters!) at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a> in Oakland, while Facundo Argañaraz housed his previously itinerant project \u003ca href=\"https://www.1599fdt.com/\">1599fdT\u003c/a> in the old Union Cleaners in San Francisco’s Chinatown (another Et al. sublet, for those keeping track). And within the space of the year, \u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a> opened and closed after Theadora Walsh and Gabriel Garza held down the fort for \u003ca href=\"https://www.cushionworks.info/\">Cushion Works\u003c/a>’ Jordan Stein — a reminder that not everything marvelous and influential needs to last forever.\u003c/p>\n\u003cp>https://youtu.be/ZAkiyaKSF5A?feature=shared\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Most Excellent Object\u003c/h2>\n\u003cp>\u003ci>\u003cb>Dawn Cerny, ‘\u003ca href=\"https://www.riteeditions.com/editions/62b279e38826374174ab5ba9\">Tabletop Sculptures\u003c/a>’\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Where do you put your keys? How about coupons? Rubber bands? If your home is anything like mine, there exist any number of errant yet important things that \u003ci>must\u003c/i> remain in sight at all times. My own solutions are multi-prong and imperfect: hook, jar, desk stack, fridge. But what if there was an object — a strange and colorful object — that could somehow hold \u003ci>all the things?\u003c/i> Enter \u003ca href=\"https://www.dawncerny.com/\">Dawn Cerny\u003c/a>’s \u003ci>Tabletop Sculptures\u003c/i>, published this year by \u003ca href=\"https://www.riteeditions.com/\">RITE Editions\u003c/a>. These customizable wooden stands come with felt pads, glass cups, clips, pencils and pegs, offering absurdist organization for the necessary detritus of human life.\u003c/p>\n\u003cfigure id=\"attachment_13938884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/SkateModernism_2000.jpg\" alt=\"Group of people circled around man in baseball cap, buildings surround them in plaza\" width=\"2000\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1536x1157.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1920x1446.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Barrow begins the walking tour ‘Skate Modernism’ in St. Mary’s Square, San Francisco. \u003ccite>(Barrett Reiter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sickest Skate Tour\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://www.docomomo-noca.org/events/skatemodernism-walkingtour\">Skate Modernism: The California Street Corridor\u003c/a>’\u003c/b>\u003cbr>\nOct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13931352']Led by art and skate-historian Ted Barrow (host of \u003ci>Thrasher\u003c/i>’s “\u003ca href=\"https://www.youtube.com/playlist?list=PL7V-xVyJYY3fCEf5hj0520eKBEplyy6jZ\">This Old Ledge\u003c/a>”), this walking tour organized by Docomomo Northern California sauntered down eight blocks of California Street, demonstrating the entwined history of some of San Francisco’s most preeminent architecture with an activity those architects likely never foresaw or never endorsed. As the very first issue of \u003ci>Thrasher\u003c/i> proclaimed, “skate architecture is everywhere, grind every edge — you’ve gotta find all the lines you can.” From \u003ca href=\"https://findskatespots.com/spots/sf-ca/california-street-black-rock\">Black Rock\u003c/a> (Masayuki Nagare’s black granite \u003ci>Transcendence\u003c/i> at 555 California St.) to Embarcadero Plaza, Barrow engagingly pointed out the design details of a mostly corporate, mostly private environment that skaters, more than any other city dwellers, have challenged and reinvented.\u003c/p>\n\u003cfigure id=\"attachment_13938885\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BenignNeglect1.jpeg\" alt=\"Three rows of framed photographs of bonsai on white wall\" width=\"2000\" height=\"1498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1920x1438.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Takeshi Moro’s ‘Benign Neglect’ at the Military Intelligence Service Historic Learning Center in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Impactful Show I Almost Missed\u003c/h2>\n\u003cp>\u003ci>\u003cb>Takeshi Moro, ‘\u003ca href=\"https://takeshimoro.com/benign-neglect-historical-japanese-american-bonsai-2/\">Benign Neglect\u003c/a>’\u003c/b>\u003cbr>\nMilitary Intelligence Service Historic Learning Center, San Francisco\u003cbr>\nSept. 16–Oct. 22, 2023\u003c/i>\u003c/p>\n\u003cp>Laid out in a tight grid along two walls, this was a spare presentation of 60 seemingly unremarkable bonsai. The “portraits” represent just a fraction of Dennis Makishima’s historic bonsai collection, captured together for the last time before they went to public auction in 2021. Makishima, a renowned aesthetic pruner who taught bonsai workshops around the world, inherited his collection from Japanese Americans who mostly grew the plants from seed post-WWII. \u003c/p>\n\u003cp>These bonsai didn’t always receive the kind of attention Makishima would later devote to them, and for that reason he considered them examples of “benign neglect” — evidence of their owners rebuilding their lives after incarceration. While the bonsai weren’t perfect, or even aesthetically “correct” in Makishima’s view, an accompanying handout captured his many feelings about, frustrations with and plans for each plant. Unique yet emblematic, these living markers of history told an eloquent story of a very human need to nurture and grow.\u003c/p>\n\u003cfigure id=\"attachment_13938886\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg\" alt=\"Fractured and multicolored tile pieces on light gray walls, in foreground a sculpture made of white gridded material with a ceramic piece on top\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jim Melchert (on walls) and Tracy Ren (on floor) in ‘Still, The Meandering Path’ at Gallery 16. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Posthumous Retrospective\u003c/h2>\n\u003cp>\u003ci>\u003cb>Jim Melchert, ‘\u003ca href=\"https://gallery16.com/exhibitions/still-the-meandering-path\">Still, The Meandering Path\u003c/a>’\u003c/b>\u003cbr>\nGallery 16, San Francisco\u003cbr>\nJuly 28–Sept. 7, 2023\u003c/i>\u003c/p>\n\u003cp>We lost a giant of the Bay Area art scene this year. \u003ca href=\"https://jimmelchert.com/\">Jim Melchert\u003c/a>, known for his fractured and colorfully glazed abstract ceramic pieces, was a beloved educator and mentor — and not only to the artists in his UC Berkeley classes. I regret that I only spoke with him once in passing, but it was enough time to experience his legendary warmth and kindness. This Gallery 16 show brought together Melchert’s last works, including \u003ci>Jim’s Final Tile\u003c/i>, a snaking river of buoyant color against a neutral tan background, with work by 14 contemporary ceramics artists as “a testament to his enduring influence and living legacy.” Melchert’s material experimentations, his use of both chance and rule-making, and his commitment to form echoed throughout the work of artists like Erik Scollon, Liz Hernández, Nathan Lynch and Gay Outlaw. It was a fitting, beautiful farewell.\u003c/p>\n\u003cfigure id=\"attachment_13938930\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg\" alt=\"Three large rainbow-hued abstract paintings in white-walled gallery space\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13938930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rema Ghuloum’s ‘4 is a Rainbow Line’ at Et al.’s former Mission Street space. \u003ccite>(Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Transcendent Solo Show\u003c/h2>\n\u003cp>\u003ci>\u003cb>Rema Ghuloum, ‘\u003ca href=\"https://etaletc.com/rema-ghuloum\">4 is a Rainbow Line\u003c/a>’\u003c/b>\u003cbr>\nEt al., 2831 Mission St., San Francisco\u003cbr>\nMarch 4–April 8, 2023\u003c/i>\u003c/p>\n\u003cp>Stepping into a room of \u003ca href=\"http://www.remaghuloum.com/\">Rema Ghuloum\u003c/a>’s large-scale paintings is like entering a prism. Rainbow shades spread luminously across her canvases, emanating out from central tangles to create otherworldly portals. In \u003ci>4 is a Rainbow Line\u003c/i>, the paintings’ scale (some nearly seven feet tall) made standing before them akin to worship — you could look up, down, all over, but you can never really get a sense of the whole. Like \u003ca href=\"https://www.artic.edu/articles/969/la-grande-jatte-frame-by-frame\">Seurat\u003c/a>, Ghuloum uses a framing technique to create perceptual shifts along the edges of her paintings, encasing her canvas in thin strips of contrasting tones or dots of color. Looking elicited only pure awe and delight. Photography, of course, utterly failed me here.\u003c/p>\n\u003cp>https://youtu.be/YD5pYQiT1D4?feature=shared\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Best Reminder of a Revolutionary Spirit\u003c/h2>\n\u003cp>\u003cb>\u003ci>‘\u003ca href=\"https://www.hbo.com/movies/all-the-beauty-and-the-bloodshed\">All the Beauty and All the Bloodshed\u003c/a>’\u003c/i>\u003c/b>\u003c/p>\n\u003cp>(This 2022 documentary by Laura Poitras sneaks onto the list because I caught it at the Roxie this year.) Photographer and activist Nan Goldin has lived a life marked by tragedy, recovery and defiance. While this film does its expected job of charting the chronology of Goldin’s life and the development of her frank, arresting photos, those details are interspersed with her contemporary fight, in her 60s, against the Sackler family. In 2017, Goldin founded \u003ca href=\"https://www.sacklerpain.org/\">P.A.I.N.\u003c/a> (Prescription Addiction Intervention Now) as result of her own Oxycontin addiction and near-fatal overdose of fentanyl. \u003ci>All the Beauty\u003c/i> tenderly shows how Goldin’s experiences prepared her for both sides of this work: staging aesthetically dramatic protests in Sackler-funded art spaces and connecting intimately with those left behind in the wreckage of addiction.\u003c/p>\n\u003cfigure id=\"attachment_13938926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg\" alt='White tote bag with \"I survived the SF doom spiral\" in black lettering' width=\"1920\" height=\"2560\" class=\"size-full wp-image-13938926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Tucker Nichols’ A+ tote for Park Life. \u003ccite>(Courtesy the artist and Park Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Most Fitting Commemorative Merch of 2023\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://parklifestore-webstore.com/products/doom-loop-tote-by-tucker-nichols\">A tote bag by Tucker Nichols\u003c/a>\u003c/b>\u003cbr>\nAvailable at Park Life, 220 Clement St., San Francisco\u003c/i>\u003c/p>\n\u003cp>We made it to the end of another year. As per usual, \u003ca href=\"https://www.tuckernichols.com/\">Tucker Nichols\u003c/a> knows exactly what to say.\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>It’s that time again — time for a hyper-specific superlative-laden list of the best art experiences I had this year but didn’t get a chance to write about. Looking back at 2023, some throughlines emerged: \u003ca href=\"https://www.kqed.org/arts/13927982/sonya-rapoport-force-fields-casemore-gallery-review\">revisited histories\u003c/a>; revels in \u003ca href=\"https://www.kqed.org/arts/13937370/tana-quincy-arcega-spirit-of-scrappiness-re-riddle\">texture\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13924934/amalia-mesa-bains-archaeology-of-memory-bampfa-review\">sparkle\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13931594/32-sounds-sam-green-documentary-live-film\">experiments in form\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13935540/will-yackulic-et-al-time-of-my-life\">small moments stretched\u003c/a> through contemplation. Here’s hoping for more of all of the above (and more art, period) in 2024.\u003c/p>\n\u003cfigure id=\"attachment_13938882\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg\" alt=\"Gallery view of earthen rectangular pedestal covered in small glass and metal cast objects \" width=\"2048\" height=\"1745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-800x682.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1020x869.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-768x654.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1536x1309.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/52423722476_9f80bfeac0_k-1920x1636.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Installation of ‘Kelly Akashi: Formations’ at the San José Museum of Art. \u003ccite>(Benjamin Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Materially Exciting Installation\u003c/h2>\n\u003cp>\u003ci>\u003cb>Kelly Akashi, ‘\u003ca href=\"https://sjmusart.org/exhibition/kelly-akashi-formations\">Formations\u003c/a>’\u003c/b>\u003cbr>\nSan José Museum of Art\u003cbr>\nSept. 3, 2022–May 21, 2023\u003c/i>\u003c/p>\n\u003cp>In this quietly evocative solo show, the artist’s hand was — quite literally — always present, in the form of cast bronze, stainless steel and lead crystal. Akashi’s hands rested on rammed-earth pedestals, hung from thick rope, held glass flowers and actual onions. Throughout \u003ci>Formations\u003c/i>, she elegantly combined these examples of her superb craftsmanship with other modes of measuring both geologic and human time. Among these were photographs, castings and samples of “witnesses” (rocks, trees and earth) to the lives of Japanese Americans — including Akashi’s father — once incarcerated at the Poston War Relocation Center in Arizona.\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/bSb585bGYmQ'\n title='//www.youtube.com/embed/bSb585bGYmQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Most Instructive Documentary\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://howtoblowupapipeline.film/\">How to Blow Up a Pipeline\u003c/a>’\u003cb>\u003c/b>\u003c/b>\u003c/i>\u003c/p>\n\u003cp>If we’ve entered an era of how-to films for the sake of averting climate disaster, I am here for it. In the vein of this year’s orca uprising, \u003ci>How to Blow Up a Pipeline\u003c/i>, based on \u003ca href=\"https://www.versobooks.com/products/2649-how-to-blow-up-a-pipeline\">Andreas Malm’s 2021 nonfiction book\u003c/a> of the same title, persuasively presents sabotage as the next step in climate activism. Written collaboratively by director Daniel Goldhaber, Jordan Sjol and Ariela Barer (who also stars), the film is a thrilling heist-like narrative about a group of resourceful and determined young people targeting an oil pipeline in West Texas. The “why,” here, is not an imagined future but a clearly evident present of extreme, horrifically deadly weather. The message and the performances are utterly compelling.\u003c/p>\n\u003cfigure id=\"attachment_13938883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938883\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg\" alt=\"Red and black stripes painted on white walls and ceilings of lobby space\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Barbara-Stauffacher-Solomon-Stripes-of-Stripes-SFMOMA-installation-view-4-2023-photo-by-Don-Ross_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘Strips of Stripes’ at SFMOMA. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Lobby Art\u003c/h2>\n\u003cp>\u003ci>\u003cb>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">Strips of Stripes\u003c/a>’\u003c/b>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSept. 16, 2023–Ongoing\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been five years since Barbara Stauffacher Solomon graced the Berkeley Art Museum and Pacific Film Archive’s entryway with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13839094/barbara-stauffacher-solomon-bampfa-art-wall\">Land(e)scape 2018\u003c/a>\u003c/i>, her stripey, pointy response to both the architecture and the political moment. At SFMOMA, the nearly 95-year-old has been given an even larger canvas and access to adjoining planes. Walls, ceilings, elevator doors and columns flatten and morph under the application of her striking black and red stripes. As the supergraphics wrapping around SFMOMA’s lobby assert — it’s Bobbie’s world, we’re just lucky enough to live in it.\u003c/p>\n\u003cfigure id=\"attachment_13933753\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg\" alt=\"A crowd outside of a tile-roofed storefront on a sunny day\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Personal-Space-outside_Amy-Owen_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd outside Personal Space during the opening of ‘Salad Days.’ \u003ccite>(Amy Owen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Reasons for Art Optimism\u003c/h2>\n\u003cp>The Bay Area lost some great art spaces this year (most notably, \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">Ratio 3\u003c/a> and McEvoy Foundation for the Arts), but we’ve also had a minor explosion of artist-run spaces and expansions. Lindsay Albert and Ivana Colendich created \u003ca href=\"https://staircase.place/\">staircase\u003c/a> in January (its name tells you everything you need to know about this gallery’s invigorating layout). Cole Solinger and Nicolas Torres opened \u003ca href=\"https://www.kqed.org/arts/13924661/house-of-seiko-cardinal-index-new-mission-gallery\">House of Seiko\u003c/a>, while \u003ca href=\"https://etaletc.com/#/\">Et al.\u003c/a>’s Mission Street outpost expanded their footprint to take over Ratio 3’s former space. In June, Lisa Rybovich Crallé launched Vallejo’s \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">Personal Space\u003c/a> to cheerful crowds. And Et al. rented their former Mission gallery to Nico Colón, who opened \u003ca href=\"https://climatecontrolsf.org/\">Climate Control\u003c/a> in September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Just last month, Steuart Pittman and Savannah Rusher held the inaugural show (of sign painters!) at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a> in Oakland, while Facundo Argañaraz housed his previously itinerant project \u003ca href=\"https://www.1599fdt.com/\">1599fdT\u003c/a> in the old Union Cleaners in San Francisco’s Chinatown (another Et al. sublet, for those keeping track). And within the space of the year, \u003ca href=\"https://inconcertsf.com/\">In Concert\u003c/a> opened and closed after Theadora Walsh and Gabriel Garza held down the fort for \u003ca href=\"https://www.cushionworks.info/\">Cushion Works\u003c/a>’ Jordan Stein — a reminder that not everything marvelous and influential needs to last forever.\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/ZAkiyaKSF5A'\n title='//www.youtube.com/embed/ZAkiyaKSF5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Most Excellent Object\u003c/h2>\n\u003cp>\u003ci>\u003cb>Dawn Cerny, ‘\u003ca href=\"https://www.riteeditions.com/editions/62b279e38826374174ab5ba9\">Tabletop Sculptures\u003c/a>’\u003c/b>\u003c/i>\u003c/p>\n\u003cp>Where do you put your keys? How about coupons? Rubber bands? If your home is anything like mine, there exist any number of errant yet important things that \u003ci>must\u003c/i> remain in sight at all times. My own solutions are multi-prong and imperfect: hook, jar, desk stack, fridge. But what if there was an object — a strange and colorful object — that could somehow hold \u003ci>all the things?\u003c/i> Enter \u003ca href=\"https://www.dawncerny.com/\">Dawn Cerny\u003c/a>’s \u003ci>Tabletop Sculptures\u003c/i>, published this year by \u003ca href=\"https://www.riteeditions.com/\">RITE Editions\u003c/a>. These customizable wooden stands come with felt pads, glass cups, clips, pencils and pegs, offering absurdist organization for the necessary detritus of human life.\u003c/p>\n\u003cfigure id=\"attachment_13938884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938884\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/SkateModernism_2000.jpg\" alt=\"Group of people circled around man in baseball cap, buildings surround them in plaza\" width=\"2000\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1536x1157.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/SkateModernism_2000-1920x1446.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ted Barrow begins the walking tour ‘Skate Modernism’ in St. Mary’s Square, San Francisco. \u003ccite>(Barrett Reiter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sickest Skate Tour\u003c/h2>\n\u003cp>\u003ci>\u003cb>‘\u003ca href=\"https://www.docomomo-noca.org/events/skatemodernism-walkingtour\">Skate Modernism: The California Street Corridor\u003c/a>’\u003c/b>\u003cbr>\nOct. 29, 2023\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Led by art and skate-historian Ted Barrow (host of \u003ci>Thrasher\u003c/i>’s “\u003ca href=\"https://www.youtube.com/playlist?list=PL7V-xVyJYY3fCEf5hj0520eKBEplyy6jZ\">This Old Ledge\u003c/a>”), this walking tour organized by Docomomo Northern California sauntered down eight blocks of California Street, demonstrating the entwined history of some of San Francisco’s most preeminent architecture with an activity those architects likely never foresaw or never endorsed. As the very first issue of \u003ci>Thrasher\u003c/i> proclaimed, “skate architecture is everywhere, grind every edge — you’ve gotta find all the lines you can.” From \u003ca href=\"https://findskatespots.com/spots/sf-ca/california-street-black-rock\">Black Rock\u003c/a> (Masayuki Nagare’s black granite \u003ci>Transcendence\u003c/i> at 555 California St.) to Embarcadero Plaza, Barrow engagingly pointed out the design details of a mostly corporate, mostly private environment that skaters, more than any other city dwellers, have challenged and reinvented.\u003c/p>\n\u003cfigure id=\"attachment_13938885\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BenignNeglect1.jpeg\" alt=\"Three rows of framed photographs of bonsai on white wall\" width=\"2000\" height=\"1498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-800x599.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1020x764.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-768x575.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1536x1150.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BenignNeglect1-1920x1438.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Takeshi Moro’s ‘Benign Neglect’ at the Military Intelligence Service Historic Learning Center in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Impactful Show I Almost Missed\u003c/h2>\n\u003cp>\u003ci>\u003cb>Takeshi Moro, ‘\u003ca href=\"https://takeshimoro.com/benign-neglect-historical-japanese-american-bonsai-2/\">Benign Neglect\u003c/a>’\u003c/b>\u003cbr>\nMilitary Intelligence Service Historic Learning Center, San Francisco\u003cbr>\nSept. 16–Oct. 22, 2023\u003c/i>\u003c/p>\n\u003cp>Laid out in a tight grid along two walls, this was a spare presentation of 60 seemingly unremarkable bonsai. The “portraits” represent just a fraction of Dennis Makishima’s historic bonsai collection, captured together for the last time before they went to public auction in 2021. Makishima, a renowned aesthetic pruner who taught bonsai workshops around the world, inherited his collection from Japanese Americans who mostly grew the plants from seed post-WWII. \u003c/p>\n\u003cp>These bonsai didn’t always receive the kind of attention Makishima would later devote to them, and for that reason he considered them examples of “benign neglect” — evidence of their owners rebuilding their lives after incarceration. While the bonsai weren’t perfect, or even aesthetically “correct” in Makishima’s view, an accompanying handout captured his many feelings about, frustrations with and plans for each plant. Unique yet emblematic, these living markers of history told an eloquent story of a very human need to nurture and grow.\u003c/p>\n\u003cfigure id=\"attachment_13938886\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg\" alt=\"Fractured and multicolored tile pieces on light gray walls, in foreground a sculpture made of white gridded material with a ceramic piece on top\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Still-The-Meandering-Path_Install_6_Web-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jim Melchert (on walls) and Tracy Ren (on floor) in ‘Still, The Meandering Path’ at Gallery 16. \u003ccite>(Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Posthumous Retrospective\u003c/h2>\n\u003cp>\u003ci>\u003cb>Jim Melchert, ‘\u003ca href=\"https://gallery16.com/exhibitions/still-the-meandering-path\">Still, The Meandering Path\u003c/a>’\u003c/b>\u003cbr>\nGallery 16, San Francisco\u003cbr>\nJuly 28–Sept. 7, 2023\u003c/i>\u003c/p>\n\u003cp>We lost a giant of the Bay Area art scene this year. \u003ca href=\"https://jimmelchert.com/\">Jim Melchert\u003c/a>, known for his fractured and colorfully glazed abstract ceramic pieces, was a beloved educator and mentor — and not only to the artists in his UC Berkeley classes. I regret that I only spoke with him once in passing, but it was enough time to experience his legendary warmth and kindness. This Gallery 16 show brought together Melchert’s last works, including \u003ci>Jim’s Final Tile\u003c/i>, a snaking river of buoyant color against a neutral tan background, with work by 14 contemporary ceramics artists as “a testament to his enduring influence and living legacy.” Melchert’s material experimentations, his use of both chance and rule-making, and his commitment to form echoed throughout the work of artists like Erik Scollon, Liz Hernández, Nathan Lynch and Gay Outlaw. It was a fitting, beautiful farewell.\u003c/p>\n\u003cfigure id=\"attachment_13938930\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg\" alt=\"Three large rainbow-hued abstract paintings in white-walled gallery space\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13938930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2023_03_29_EtAl1473-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Rema Ghuloum’s ‘4 is a Rainbow Line’ at Et al.’s former Mission Street space. \u003ccite>(Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Transcendent Solo Show\u003c/h2>\n\u003cp>\u003ci>\u003cb>Rema Ghuloum, ‘\u003ca href=\"https://etaletc.com/rema-ghuloum\">4 is a Rainbow Line\u003c/a>’\u003c/b>\u003cbr>\nEt al., 2831 Mission St., San Francisco\u003cbr>\nMarch 4–April 8, 2023\u003c/i>\u003c/p>\n\u003cp>Stepping into a room of \u003ca href=\"http://www.remaghuloum.com/\">Rema Ghuloum\u003c/a>’s large-scale paintings is like entering a prism. Rainbow shades spread luminously across her canvases, emanating out from central tangles to create otherworldly portals. In \u003ci>4 is a Rainbow Line\u003c/i>, the paintings’ scale (some nearly seven feet tall) made standing before them akin to worship — you could look up, down, all over, but you can never really get a sense of the whole. Like \u003ca href=\"https://www.artic.edu/articles/969/la-grande-jatte-frame-by-frame\">Seurat\u003c/a>, Ghuloum uses a framing technique to create perceptual shifts along the edges of her paintings, encasing her canvas in thin strips of contrasting tones or dots of color. Looking elicited only pure awe and delight. Photography, of course, utterly failed me here.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YD5pYQiT1D4'\n title='//www.youtube.com/embed/YD5pYQiT1D4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>Best Reminder of a Revolutionary Spirit\u003c/h2>\n\u003cp>\u003cb>\u003ci>‘\u003ca href=\"https://www.hbo.com/movies/all-the-beauty-and-the-bloodshed\">All the Beauty and All the Bloodshed\u003c/a>’\u003c/i>\u003c/b>\u003c/p>\n\u003cp>(This 2022 documentary by Laura Poitras sneaks onto the list because I caught it at the Roxie this year.) Photographer and activist Nan Goldin has lived a life marked by tragedy, recovery and defiance. While this film does its expected job of charting the chronology of Goldin’s life and the development of her frank, arresting photos, those details are interspersed with her contemporary fight, in her 60s, against the Sackler family. In 2017, Goldin founded \u003ca href=\"https://www.sacklerpain.org/\">P.A.I.N.\u003c/a> (Prescription Addiction Intervention Now) as result of her own Oxycontin addiction and near-fatal overdose of fentanyl. \u003ci>All the Beauty\u003c/i> tenderly shows how Goldin’s experiences prepared her for both sides of this work: staging aesthetically dramatic protests in Sackler-funded art spaces and connecting intimately with those left behind in the wreckage of addiction.\u003c/p>\n\u003cfigure id=\"attachment_13938926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg\" alt='White tote bag with \"I survived the SF doom spiral\" in black lettering' width=\"1920\" height=\"2560\" class=\"size-full wp-image-13938926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TuckerTote_2000-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Tucker Nichols’ A+ tote for Park Life. \u003ccite>(Courtesy the artist and Park Life)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Most Fitting Commemorative Merch of 2023\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://parklifestore-webstore.com/products/doom-loop-tote-by-tucker-nichols\">A tote bag by Tucker Nichols\u003c/a>\u003c/b>\u003cbr>\nAvailable at Park Life, 220 Clement St., San Francisco\u003c/i>\u003c/p>\n\u003cp>We made it to the end of another year. As per usual, \u003ca href=\"https://www.tuckernichols.com/\">Tucker Nichols\u003c/a> knows exactly what to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13938767\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png\" alt=\"A pale white woman with long black hair and exaggerated Victorian clothing stands in side profile, wind blowing through her hair, a deep blue sky behind her.\" width=\"1898\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-30-at-4.12.08-PM-1536x1020.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Bella Baxter in ‘Poor Things.’ \u003ccite>(Searchlight Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you happen across a film critic this week who insists that \u003ca href=\"https://www.imdb.com/title/tt14230458/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_poor%2520things\">\u003cem>Poor Things\u003c/em>\u003c/a> is a bad movie, please make a mental note that a) they are lying, and b) they’re probably being a contrarian because they know every other critic on Earth is going to fall over themselves with glee to sing this movie’s praises.\u003c/p>\n\u003cp>Make no mistake, \u003cem>Poor Things\u003c/em> is a masterpiece — a visual one, a philosophical one and a feminist one. It will make you laugh, it will make you ruminate and it will fill you with defiant, rebellious thoughts that persist long after the movie is over. Once you’re tangled up in its surreal, sensuous, open-wide world, it’s quite impossible to not be thoroughly taken with \u003cem>Poor Things.\u003c/em> As taken, in fact, as all of the male suitors in the movie are with its unconventional heroine, Bella Baxter. (Played with magnificent abandon by Emma Stone.)\u003c/p>\n\u003cp>[aside postid='arts_13938620']Bella is the creation of Dr. Godwin “God” Baxter (Willem Dafoe), a man who bears the physical and mental scars of his father’s own medical experiments. (I’ll save you the details of exactly how he came up with Bella — it’s far more fun to find out by watching the movie.) Most people, including most of the medical students he teaches, laugh in God’s face. But not Bella. Bella loves God. God keeps Bella safe. God nourishes Bella.\u003c/p>\n\u003cp>At a certain point in her development however, Bella — imbued with a curiosity that has never been trounced by social conditioning or convention — insists she must see the world beyond the limited scope granted to her within God’s house. (No, the analogies are not that subtle.) Along comes a womanizing cad named Duncan Wedderburn (Mark Ruffalo in deliciously pompous form) who whisks Bella away from London and off to Portugal, Egypt and then finally to France.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vjm0udI77KU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>[aside postid='arts_13938358']At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\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>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bella’s journey is an odyssey in which she painstakingly immerses herself in parsing the meaning of life. At first, she can’t imagine why it’s not only about sexual indulgence — her insatiable, un-self-conscious appetites prompt her first desires to leave God’s house. And though her journey beyond begins thoroughly immersed in pure, unfettered pleasure, along the way she comes to understand inequality and cruelty, humanity’s basest survival instincts and man’s desire to cage or destroy all that is free and beautiful. (Including herself.)\u003c/p>\n\u003cp>Unimpeded by fear or social mores, Bella experiences each stage of her travels viscerally, unpretentiously and at face value. She lives in a manner that is gloriously unfiltered and untethered, leading to many laugh-out-loud moments. (“I must go punch that baby,” she casually announces in a ballroom after an infant starts crying. What follows is the most hilarious scene in the movie.)\u003c/p>\n\u003cp>Bella enthusiastically devours experiences and individuals that others might consider negative or grotesque in order to get to the lessons within. It helps that she is entirely incapable of taking anything happening around her personally, a skill that grants her exceptional problem-solving abilities — and provides not a few zingers. (At one point, she shuts down a passionate lover’s tiff by saying simply, “I feel this conversation has grown circular.” When called a “whore” in the street, she responds “We are our own means of production,” and keeps walking.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Poor Things\u003c/em> is not terribly different from Henry David Thoreau’s famous quote about “sucking the marrow out of life.” Like Thoreau, Bella wishes “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Where \u003cem>Poor Things\u003c/em> excels far beyond that concept is in its stunning execution. The script is a marvel. The costumes are breathtakingly imaginative — an awards sweep waiting to happen. The sets are imbued with art itself, calling to mind the colorscape of Klimt, the twisted wit of Salvador Dali and the sensitivity of Frida Kahlo. Ultimately, the movie’s vision also reflects how Bella sees the world at any given moment. (At God’s house, everything is black and white and fisheye lenses. Outside, her adventures are in hypercolor.)\u003c/p>\n\u003cp>At the beginning of \u003cem>Poor Things\u003c/em>, Bella appears an aberration, much like the strange animal hybrids that also roam freely in God’s house. Ultimately, though, by moving through life unencumbered by human ego, Bella Baxter offers not only a rewarding two and a half hours of entertainment, but lessons to enthusiastically live by.\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>‘Poor Things’ opens in San Francisco at the \u003ca href=\"https://drafthouse.com/sf/show/poor-things\">Alamo Drafthouse\u003c/a> and \u003ca href=\"https://www.amctheatres.com/movies/poor-things-early-access-75493\">AMC Metreon\u003c/a> on Dec. 5 and hits theaters nationwide on Dec. 8.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento",
"headTitle": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
"content": "\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>[aside postID='arts_13932865']“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n",
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"excerpt": "The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film",
"headTitle": "‘Eileen,’ a Wonderful Novel About an ‘Invisible’ Young Lady Becomes an Oddball Film | KQED",
"content": "\u003cp>Something strange has happened to Eileen Dunlop, and we don’t just mean the plot of \u003cem>Eileen\u003c/em>. The adaptation of novelist Ottessa Moshfegh’s delicious coming-of-age heroine has had a weird birth onto film.\u003c/p>\n\u003cp>The plot and setting haven’t changed: It’s late 1964 in a frigid coastal town in Massachusetts. “Everybody’s kind of angry here — it’s Massachusetts,” Eileen explains in one her best lines. She works as a clerk at a juvenile corrections facility, goes home to an alcoholic dad and repeats. Her whole world is a prison.\u003c/p>\n\u003cp>[aside postid='arts_13938358']In print, she is dark and self-obsessed and deliciously willing to poke into every squeamish horror, even her own “folds and caverns.” On celluloid, she is just a plain, anti-social Jane. In print in one scene, she scratches her nether regions and pointedly uses the unwashed fingers to shake hands with a boss. In the film, she just walks away. Eileen has been neutered.\u003c/p>\n\u003cp>It’s not clear what has happened since Moshfegh — along with Luke Goebel — is a screenwriter as well as a producer. Moshfegh’s original creation is a “fabulous shoplifter” who keeps a dead field mouse in the glove box of her smoky Dodge Coronet and loves \u003cem>National Geographic\u003c/em> issues that feature unusual, painful tribal rituals. None of that made it to the film. That leaves her too inert, too passive — wide-eyed without the naughty.\u003c/p>\n\u003cp>\u003cem>Eileen\u003c/em> was always going to be a hard book to adapt, especially since it’s so internal. It’s really a character study for most of the way, then events get jolted by an unexpected outsider — a real deus ex machina — and then it evolves into a low-stakes noir thriller, right down to the film’s too heavy Hitchcockian end credits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PYJIBoBPtU\u003c/p>\n\u003cp>Thomasin McKenzie playing the titular character has a lot to do and she does it admirably, appearing mouse-ish from the outside, pulling pubic hair out of a bar of soap with delightful glee and taking the occasional flight of fancy by dreaming of executing her dad or having a hot and heavy tryst with a guard. “Get a life, Eileen. Get a clue,” says her unamusing dad.\u003c/p>\n\u003cp>The deus ex machina here is Anne Hathaway as the glamorous Harvard-trained psychiatrist Rebecca Saint John, who drinks cocktails, smokes furiously — “It’s a nasty habit. That’s why I like it” — dances alone in bars and doesn’t buy any ’50s conventions. “I don’t get what’s popular,” she says. Hathaway could have pulled back the throttle a little, often overawing McKenzie’s mouse.\u003c/p>\n\u003cp>Hathaway’s sophisticated character is the key to unlocking Eileen, and the young woman begins mimicking the older, often wearing her dead mother’s clothes as she smokes or drinks martinis. They have a sort of flirtation — game recognizing game. “You really think you’re a normal person?” the psychiatrist asks Eileen.\u003c/p>\n\u003cp>[aside postid='arts_13938143']While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\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>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The movie version of ‘Eileen’ is strange but doesn’t live up to the book’s deliciously dark and self-obsessed main character.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Something strange has happened to Eileen Dunlop, and we don’t just mean the plot of \u003cem>Eileen\u003c/em>. The adaptation of novelist Ottessa Moshfegh’s delicious coming-of-age heroine has had a weird birth onto film.\u003c/p>\n\u003cp>The plot and setting haven’t changed: It’s late 1964 in a frigid coastal town in Massachusetts. “Everybody’s kind of angry here — it’s Massachusetts,” Eileen explains in one her best lines. She works as a clerk at a juvenile corrections facility, goes home to an alcoholic dad and repeats. Her whole world is a prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In print, she is dark and self-obsessed and deliciously willing to poke into every squeamish horror, even her own “folds and caverns.” On celluloid, she is just a plain, anti-social Jane. In print in one scene, she scratches her nether regions and pointedly uses the unwashed fingers to shake hands with a boss. In the film, she just walks away. Eileen has been neutered.\u003c/p>\n\u003cp>It’s not clear what has happened since Moshfegh — along with Luke Goebel — is a screenwriter as well as a producer. Moshfegh’s original creation is a “fabulous shoplifter” who keeps a dead field mouse in the glove box of her smoky Dodge Coronet and loves \u003cem>National Geographic\u003c/em> issues that feature unusual, painful tribal rituals. None of that made it to the film. That leaves her too inert, too passive — wide-eyed without the naughty.\u003c/p>\n\u003cp>\u003cem>Eileen\u003c/em> was always going to be a hard book to adapt, especially since it’s so internal. It’s really a character study for most of the way, then events get jolted by an unexpected outsider — a real deus ex machina — and then it evolves into a low-stakes noir thriller, right down to the film’s too heavy Hitchcockian end credits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1PYJIBoBPtU'\n title='//www.youtube.com/embed/1PYJIBoBPtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thomasin McKenzie playing the titular character has a lot to do and she does it admirably, appearing mouse-ish from the outside, pulling pubic hair out of a bar of soap with delightful glee and taking the occasional flight of fancy by dreaming of executing her dad or having a hot and heavy tryst with a guard. “Get a life, Eileen. Get a clue,” says her unamusing dad.\u003c/p>\n\u003cp>The deus ex machina here is Anne Hathaway as the glamorous Harvard-trained psychiatrist Rebecca Saint John, who drinks cocktails, smokes furiously — “It’s a nasty habit. That’s why I like it” — dances alone in bars and doesn’t buy any ’50s conventions. “I don’t get what’s popular,” she says. Hathaway could have pulled back the throttle a little, often overawing McKenzie’s mouse.\u003c/p>\n\u003cp>Hathaway’s sophisticated character is the key to unlocking Eileen, and the young woman begins mimicking the older, often wearing her dead mother’s clothes as she smokes or drinks martinis. They have a sort of flirtation — game recognizing game. “You really think you’re a normal person?” the psychiatrist asks Eileen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While director William Oldroyd often gets lost in the heavy darkness of noir, the screenwriters have some fabulous lines, like when Saint John tells Eileen: “You remind me of a girl in a Dutch painting. You have a strange face. It’s plain but fascinating — with a beautiful turbulence.”\u003c/p>\n\u003cp>Or when gin-soaked dad — a great Shea Whigham — calmly destroys his daughter: “Some people, they’re the real people. Like in a movie. They’re the ones you watch, they’re the ones making moves. And other people, they’re just there, filling the space,” he says. “That’s you, Eileen. You’re one of them.”\u003c/p>\n\u003cp>And that’s the fate of \u003cem>Eileen\u003c/em>, too, unfortunately. By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.\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>‘Eileen’ is released nationwide on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\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>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\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>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>[aside postid='arts_13938450']In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BT_hfVEOew\u003c/p>\n\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>[aside postid='arts_13938247']That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>[aside postid='arts_13936153']She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>[aside postid='news_11967916']During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\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>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The woman refused to sell Captain Saleha Jabeen a hijab to don with her military uniform. While many civilian Muslims tell Jabeen she makes them proud, others are horrified by her decision to serve. “You’re gonna go kill Muslims,” the store owner told her that day.\u003c/p>\n\u003cp>Major Rafael Lantigua Jr. has experienced the flip side of that struggle. Angered by an attack on U.S. troops in Iraq, a fellow service member once barked at Lantigua: “Why can’t you call your people and tell them to stop?”\u003c/p>\n\u003cp>The words stung. Just as Jabeen thought the woman saw her as a bad Muslim, Lantigua felt the implication of the outburst directed at him was: You don’t belong. (The service member later apologized).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the years since, Jabeen and Lantigua have become part of the small group of Muslim military chaplains who tend to the souls and spirits of U.S. troops of all faiths and no faith — their work highlighted in a new film that offers a peek into their worlds. Among other duties, they give talks on suicide prevention, provide counsel on relationships, and advise commanders on matters of religion and morale. When the going gets tough, they offer comfort, hope and companionship.\u003c/p>\n\u003cp>They sometimes break barriers and celebrate milestones, like Jabeen becoming the first female Muslim military chaplain a few years ago. At other times, they navigate tensions stemming from the views some have of their faith or their service when those get questioned, scrutinized, debated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re bridge builders,” Lantigua said in an interview. “We’re trying our best in this tension to get like-minded individuals to see the humanity of the other.”\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/_BT_hfVEOew'\n title='//www.youtube.com/embed/_BT_hfVEOew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jabeen and Lantigua are featured in \u003cem>Three Chaplains\u003c/em>, a documentary that recently \u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">aired on PBS and is now available online\u003c/a>. (The third is Army Col. Khallid Shabazz). In the film and in interviews, they provide a window into the struggles and victories of Muslim chaplains and service members in one of the most American of institutions.\u003c/p>\n\u003cp>Lantigua said his familiarity with Islam has helped him maneuver through this “tension” — that fraught space, squeezed between skepticism by some non-Muslims and dismay by some civilian Muslims, especially over U.S. wars in Muslim-majority countries.\u003c/p>\n\u003cp>The friction, he said, ebbs and flows. It was heightened during such times as 9/11, the wars in Afghanistan and Iraq and the aftermath of a 2009 deadly shooting rampage on a military base in Texas by a Muslim Army psychiatrist.\u003c/p>\n\u003cp>“These voices from both sides of the aisle start piling on upon Muslim service members,” Lantigua said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That can be especially hard for new troops, said Lantigua, who’s served for nearly three decades, including deployments in Kuwait, Iraq and Afghanistan. Born to a father from the Dominican Republic and an African American mother, he was raised as a Christian before becoming a Muslim.\u003c/p>\n\u003cp>Lantigua said he reminds those with concerns over Muslim service members of the First Amendment’s guarantee of religious freedom. Similarly, he tells disapproving Muslims that there are Muslim-majority countries that have been part of military coalitions alongside the United States, that the U.S. military has rules of engagement that service members must abide by and that breaking these rules carries repercussions.\u003c/p>\n\u003cp>In the film, one retired lieutenant colonel talks about feeling proud wearing her uniform, but becoming disillusioned when reports of inmates’ abuse in the now-infamous Abu Ghraib prison emerged after the U.S-led invasion of Iraq.\u003c/p>\n\u003cp>“I don’t think I would join the military today … but, at the same time, I am so happy that you’ve answered the call to break that barrier,” Shareda Hosein told Jabeen on camera.\u003c/p>\n\u003cp>\u003cem>Three Chaplains\u003c/em> director David Washburn, who has done previous work on Muslims in the military, said he found that the chaplains “occupied a space where all sorts of compelling story lines intersected: religious freedom, Islamophobia, interfaith dialogue, diversity in military today.”\u003c/p>\n\u003cfigure id=\"attachment_13938586\" class=\"wp-caption aligncenter\" style=\"max-width: 2122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png\" alt=\"A woman of color wearing a military dress uniform and hijab recites words, her right hand raised, before a senior white man who also has one hand raised. They are standing near a blue flag.\" width=\"2122\" height=\"1426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM.png 2122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-2048x1376.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.16.10-AM-1920x1290.png 1920w\" sizes=\"(max-width: 2122px) 100vw, 2122px\">\u003cfigcaption class=\"wp-caption-text\">Saleha Jabeen taking an oath to enter Air Force Chaplain Corps in 2019. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jabeen, who was born in India, sees the curiosity that comes with her being a Muslim female religious leader. Sometimes, questions follow, over lunch or chats, about the place of women in her faith. She shares stories about her life and strong Muslim women from the Prophet Muhammad’s wife, Khadija, to American Muslim politicians and community leaders today.\u003c/p>\n\u003cp>“They’re like … ‘That’s interesting. We never thought,’” she said. “We connect on a whole different level.”\u003c/p>\n\u003cp>Jabeen said she’s also “bringing Islam to the table, so when decisions are being made, I’m a part of it.”\u003c/p>\n\u003cp>Recently, a Muslim service member sought her help. The woman was worried — could her loyalty be questioned if she appeared sad or teary-eyed over the war in Gaza?\u003c/p>\n\u003cp>“You make us all proud,” Jabeen told her. “You belong here. You’re part of this military.”\u003c/p>\n\u003cp>The woman broke into tears of relief.\u003c/p>\n\u003cp>With the Israel-Hamas war, Jabeen said she also checked in with a couple of Jewish service members. “We had good conversations about ‘You know what, it is actually hurting; everybody’s hurting.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She had also worked through her own emotions. She happened to be on leave and with a female Christian military chaplain when she learned of the Oct.7 Hamas attack on Israel. They talked, held each other’s hands, and prayed.\u003c/p>\n\u003cp>“We were cut out to bring hope to our people in the middle of madness,” Jabeen said. “We were like … ‘We’re exactly where we’re supposed to be. Now is the time for us to go to work.’”\u003c/p>\n\u003cp>Not long ago, being a Muslim military chaplain was uncharted territory. Retired Lt. Col. Abdul Rasheed Muhammad said he became the first to hold that position in the 1990s. The 1991 Gulf War, in which U.S.-led forces expelled occupying Iraqi troops from Kuwait, highlighted the need for military Islamic chaplaincy, he said.\u003c/p>\n\u003cp>In the beginning, Muhammad was inundated with questions from commanders and troops on everything from prayers and fasting during training to pork-free meals. There was scant knowledge about Islam or how Muslim soldiers’ religious freedom could be protected, he said. He gave presentations on the faith to various military units.\u003c/p>\n\u003cp>“Before 9/11, Islam was just this religion that was more and more associated or affiliated with Buddhism and Hinduism than anything else,” he said. By that, he said, he means that people knew little about its culture, holidays and religious requirements.\u003c/p>\n\u003cp>In those early years, a senior noncommissioned officer once asked him “why can’t you all worship on Sunday” instead of Friday?\u003c/p>\n\u003cp>“I would imagine that there’s much more sensitivity today to these things than there were when I first came in,” Muhammad said.\u003c/p>\n\u003cfigure id=\"attachment_13938589\" class=\"wp-caption aligncenter\" style=\"max-width: 1226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png\" alt=\"A man of color in a military uniform, with greying beard, stands near a line of men, also wearing military uniforms, as they stream into a nearby building. He stands still, smiling warmly at them.\" width=\"1226\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM.png 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-28-at-11.20.58-AM-768x504.png 768w\" sizes=\"(max-width: 1226px) 100vw, 1226px\">\u003cfigcaption class=\"wp-caption-text\">Major Rafael Lantigua Jr. at the U.S. Air Force Academy in 2022. \u003ccite>(Terrace Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curiosity about Islam intensified after the Sept. 11 attacks. So did mistrust by some.\u003c/p>\n\u003cp>“Islam — and Muslims, to a very large degree — was looked at as the enemy,” Muhammad said. “The good news is that many of the commanders and officials … made sure that we didn’t have problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During a particularly tense time, Muhammad prominently represented his country and faith, reciting from the Quran during a high-profile memorial service at the Pentagon one month after 9/11. He also helped care for soldiers recovering remains from the Pentagon’s plane crash scene.\u003c/p>\n\u003cp>Then and now, he said, the presence of Muslim military chaplains helps chip away at misunderstandings, fears and bias.\u003c/p>\n\u003cp>“They get to see you as a human being and they see your work,” he said. “Prejudice, racism, Islamophobia, all of those things, begin to dissipate because now they have to deal with the reality of things, not what they imagine.”\u003c/p>\n\u003cp>\u003cem>Associated Press religion coverage receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content.\u003c/em>\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>\u003ca href=\"https://www.pbs.org/independentlens/documentaries/three-chaplains/\">‘Three Chaplains’ is streaming now\u003c/a> on PBS Independent Lens.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Charlie Brown Thanksgiving’ Turns 50 This Year. How Has It Held Up?",
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"content": "\u003cp>The 50\u003csup>th\u003c/sup> anniversary of the classic \u003cem>Peanuts\u003c/em> holiday special, \u003cem>A Charlie Brown Thanksgiving, \u003c/em>has arrived. These days, the show, which first aired on CBS in 1973, feels like a bittersweet relic from the era of the Vietnam War.\u003c/p>\n\u003cp>Its age creeps through the soft watercolors of its autumnal landscapes and in the tone of some characters. (“Sally, Thanksgiving is a very important holiday,” Linus drones in what we now commonly recognize as “mansplaining.”)\u003c/p>\n\u003cp>[aside postid='arts_13937608']Poor Charlie Brown, who wants to go to his grandmother’s for dinner, has to manage his bossy friend, Peppermint Patty. Today, many viewers celebrate the athletic, confident character as a beacon of non-normative girlhood; she is swaggering and subversive.\u003c/p>\n\u003cp>Peppermint Patty invites herself over to Charlie Brown’s for dinner, along with her very best friend, Marcie, and Franklin, the only Black character in \u003cem>Peanuts\u003c/em>. Franklin was added to the strip in 1968, in the immediate aftermath of the assassination of Dr. Martin Luther King Jr., at the suggestion of a schoolteacher. \u003cem>Peanuts\u003c/em> creator Charles Schulz later said at least one newspaper editor in the South balked at running comics that showed a Black child attending school along with the rest of the \u003cem>Peanuts\u003c/em> gang.\u003c/p>\n\u003cp>Schulz had very little to do with the animated television specials. During the dinner scene in \u003cem>A Charlie Brown Thanksgiving,\u003c/em> Franklin is seated alone in a sagging lawn chair at one side of the table. To our eyes today, it seems jarring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s so very easy to get offended or upset … but we have to remember that at that time, that actually represented progress,” said Robin Reed \u003ca href=\"https://www.msnbc.com/gibson-reiser/watch/lindsey-reiser-talks-to-the-voice-behind-franklin-126784581956\">in a 2021 MSNBC interview\u003c/a>. He voiced the character of Franklin when he was only 11. Reed said he’s still proud of the special and the character.\u003c/p>\n\u003cp>“I’m glad he’s at the table!” Bryant Keith Alexander told NPR. “Does it matter that he’s sitting in a lawn chair, isolated on one side of the table? Yeah, because that’s symbolic of the time. … His positionality at the table is secondary to the fact that he’s at the table.”\u003c/p>\n\u003cp>[aside postid='arts_10870599']Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>[aside postid='pop_7560']“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\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=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, \u003ca href=\"https://www.lmu.edu/about/academicdeans/bryantkeithalexander/\">dean of Loyola Marymount College of Communication and Fine Arts\u003c/a>, Alexander says he adored Franklin as a child growing up in Louisiana.\u003c/p>\n\u003cp>“Dear Franklin, you have always been my hero,” Alexander wrote in an essay in the 2022 collection \u003ca href=\"https://www.routledge.com/Performative-Intergenerational-Dialogues-of-a-Black-Quartet-Qualitative/Alexander-Weems-Hill-Callier/p/book/9781032228181\">\u003cem>Performative Intergenerational Dialogues of a Black Quartet: Qualitative Inquiries on Race, Gender, Sexualities, and Culture\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Oh, how lonely it must have been as the first, and only Black Peanut on the Charlie Brown cartoon series, being the perpetual other. But you always presented with such style, grace, insight and character. I wanted to be you when I was growing up. You gave me great joy. A boy with few words but great presence. ”\u003c/p>\n\u003cp>As someone who often finds himself the only Black man sitting at the table, Alexander says Franklin was the first to show him what it’s like and modeled that position with dignity.\u003c/p>\n\u003cp>The widow of \u003cem>Peanuts\u003c/em>‘ creator addressed the dinner scene in \u003cem>A Charlie Brown Thanksgiving \u003c/em>in her blog, which is on \u003ca href=\"https://schulzmuseum.org/\">the Charles M. Schulz Museum website\u003c/a>.\u003c/p>\n\u003cp>“While it can’t be known now which animator drew that particular scene, you can be sure there was no ulterior motive,” Jean Schulz \u003ca href=\"https://schulzmuseum.org/the-pumpkins-are-out/\">wrote in 2019\u003c/a>, reflecting on how her husband created Franklin’s character out of sincerity and an intention of inclusiveness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I fall back on Peppermint Patty’s apology to Charlie Brown, explaining she meant no harm when she criticized his poor Thanksgiving offering, which goes something like: ‘There are enough problems in the world already without these misunderstandings.’ To suggest the show had any other messages than the importance of family, sharing, and gratitude is to look for an issue where there is none.”\u003c/p>\n\u003cp>The takeaway from this \u003cem>Peanuts\u003c/em> Thanksgiving, adds Bryant Keith Alexander, should be that we’re learning how to make room at the table for everyone. And he’s especially grateful to Franklin, he says, for taking space at the pop culture table.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Charlie Brown Thanksgiving\u003c/em> \u003ca href=\"https://tv.apple.com/us/movie/a-charlie-brown-thanksgiving/umc.cmc.7grdgbjdq3tiy37f4dc3yeyms\">can be streamed for free\u003c/a> on Apple TV+.\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=%27A+Charlie+Brown+Thanksgiving%27+turns+50+this+year.+How+has+it+held+up%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Emerald Fennell Chronicles a Promising Young Man in Shock-Filled ‘Saltburn’",
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"content": "\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>[aside postid='arts_13895652']Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lALMdJf6UUE&t=61s\u003c/p>\n\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>[aside postid='arts_13938168']Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>[aside postid='arts_13897161']And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\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>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago Emerald Fennell stood on the Oscars stage hoisting her writing trophy for\u003ca href=\"https://www.kqed.org/arts/13895652/emerald-fennells-promising-young-woman-doesnt-let-anyone-off-the-hook\">\u003cem> Promising Young Woman\u003c/em>\u003c/a>, a scathing look at rape culture and a balancing act of wit, style, shock value, audacity, great acting and pitch-black humor — plus a timely #MeToo message.\u003c/p>\n\u003cp>That’s a lot for a debut film, and we didn’t even mention the best director nomination. Not surprisingly, anticipation has been hot for the writer-director’s next effort (as an actor, she’s already graced a little film this year called \u003cem>Barbie\u003c/em>, in the suitably dark role of pregnant, discontinued Midge).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now \u003cem>Saltburn\u003c/em> is here, and the results are enticing but decidedly mixed — perhaps because Fennell seems to be trying to one-up herself by leaning on the shock value, at the eventual expense of other storytelling elements.\u003c/p>\n\u003cp>Make no mistake, the clever writing is here, as is the style, the sleek technique, and some terrific performances (Rosamund Pike is especially delicious in a supporting role). What’s missing, or muddled, is the message — and perhaps even more, the heart. After two hours of cringing and gasping in both awe and discomfort, we’re left admiring the “how” of what she’s doing but still figuring out the “why.”\u003c/p>\n\u003cp>One thing that’s not lacking: beauty. Unsurprisingly, Fennell excels at lush production values, especially in presenting the imposing, seductive and somewhat debauched Saltburn — no, not a person, but a country manor! This is England, and a story of class dynamics, so it’s surely fitting that the star be a piece of real estate. (And let’s just say, the phrase “real estate porn” takes on an added dimension here.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lALMdJf6UUE'\n title='//www.youtube.com/embed/lALMdJf6UUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We start, though, at Oxford. Here we meet our main character, Oliver Quick (and if that doesn’t take you straight back to Dickens, nothing will). It’s 2006, and Oliver (Barry Keoghan, ever-watchable and unpredictable) is a freshman on scholarship, feeling out of his league. At his first tutorial, he announces he read all 50 books on the summer reading list. His bemused teacher tells him nobody does that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oliver soon learns that life at Oxford isn’t about what you’ve read, but who you know. In the Hogwarts-style dining hall, he can barely find someone to sit with — only a needy mathematics major. He has no earthly connection to the rest of the privileged, entitled (and in some cases, titled) student body, but aches to fit in.\u003c/p>\n\u003cp>And then aristocratic golden boy Felix appears, like a Greek god. Played by Jacob Elordi, currently appearing as Elvis in \u003cem>Priscilla\u003c/em>, Felix is gorgeous and effortlessly rakish; he seems to have never encountered hardship. Unless you count a flat tire on his bike, which is how Oliver meets him, lending his own bike so Felix can get to class.\u003c/p>\n\u003cp>The two become friends. It’s obvious what’s in it for Oliver, but what’s in it for Felix? That’s less clear, but Oliver’s home life has been hard. So, when Oliver tells Felix a tragedy has occurred involving his drug-addicted parents, Felix invites him to spend the summer at his family palace, er, home.\u003c/p>\n\u003cp>The family includes Felix’s beautiful but unstable sister, Venetia (Alison Oliver), his comically out-of-touch father, Sir James (Richard E. Grant, very funny), and the terrifically droll Pike as Elspeth, Felix’s glamorous, clueless mother. Also spending the summer is cousin Farleigh (Archie Madekwe, excellent) a Saltburn outsider himself — American-born, a person of color — but compared to Oliver an insider, which is crucial. The great Carey Mulligan, Oscar-nominated for \u003cem>Promising Young Woman\u003c/em>, has a welcome cameo as an unwelcome guest.\u003c/p>\n\u003cp>The early Saltburn days are intoxicating. Felix points out the various Rubens portraits, the original Shakespeare folios, that sort of thing. Days are spent lounging languidly on the lawn by the mossy pond. Dinner is black tie, so Oliver needs a loaner jacket and cufflinks. These people even play tennis in tuxes.\u003c/p>\n\u003cp>Then the really crazy stuff starts happening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And we mean Fennell-level crazy. In \u003cem>Promising Young Woman\u003c/em> there was a slow burn to the \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">shocking, graphic ending\u003c/a>. Here, the shocks come early. A few involve bodily fluids. Fennell knows how to startle the most jaded of film audiences — guests at the screening I attended either gasped or giggled in embarrassment.\u003c/p>\n\u003cp>Fennell is also comfortable with the world she seeks to paint. Even if you didn’t know beforehand, it’s pretty clear from the vividly rendered Oxford scenes that the director attended Oxford herself, and her scenes of student life at that storied institution, seen through outsider Oliver, form the most authentic-feeling part of the film.\u003c/p>\n\u003cp>But how long will Oliver remain an outsider? Will this uncertain and complicated young man, who arrives at the Saltburn gates too early and too naive to have waited for the footmen to collect him at the station, ever fit in, something he covets above all else? That’s the question the rest of the movie answers, taking increasingly sinister twists and turns.\u003c/p>\n\u003cp>As if in a garden maze, perhaps? Like any self-respecting, spectacular period mansion, Saltburn has one of those, too, where some key action takes place. More broadly, though, the maze seems to symbolize the effect of this film: pretty, seductive, challenging, forbidding and ultimately confounding.\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>‘Saltburn’ was released on Nov. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity",
"headTitle": "Bradley Cooper’s ‘Maestro’ Is a Solid Conductor of Ego and Electricity | KQED",
"content": "\u003cp>Several reels into Bradley Cooper’s manically over-orchestrated \u003cem>Maestro\u003c/em>, Mr. and Mrs. Leonard Bernstein (Cooper and Carey Mulligan) glide into their immaculate 1950s New York living room for a remote interview for CBS journalist Edward R. Murrow’s \u003ci>Person to Person\u003c/i> show.\u003c/p>\n\u003cp>We’re still in the black-and-white half of the film, and the alabaster curlicues spiraling from the century’s more stylish and dexterous chain-smokers distract momentarily from Murrow’s question about the attractions of composing versus conducting music. Be advised this is not an isolated occurrence: Every single shot in this movie calls attention to itself with the subtlety of a blast of French horns.\u003c/p>\n\u003cp>The crux of \u003cem>Maestro\u003c/em> lies in Bernstein’s answer. He describes composition as a creative, private act (in a word, art) and conducting as a public performance. Film directors who write their own screenplays (in a word, auteurs) frequently describe a similar dichotomy, with the “public” aspect consisting of collaboration in production.\u003c/p>\n\u003cfigure id=\"attachment_13938340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg\" alt=\"White man in dark suit and white woman in white dress sit on couch with cigarettes in hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bradley Cooper as Leonard Bernstein and Carey Mulligan as Felicia Montealegre in ‘Maestro,’ smoking, of course. \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper and co-screenwriter Josh Singer have conceived and structured \u003cem>Maestro\u003c/em> (opening Wednesday, Nov. 22 in theaters before debuting Dec. 20 on Netflix) to highlight the tensions and contradictions between the charismatic public figure of Leonard Bernstein — an ambitious and acclaimed wunderkind who became a full-fledged star and household name — and the private man: an artist frustrated by his insufficient number of high-art compositions, a loving husband and father, and a lover of men.\u003c/p>\n\u003cp>[aside postid='arts_13938358']That’s a symphony in itself, yet Cooper also ascribes near-equal prominence to Felicia Montealegre, the Costa Rican stage (and later, television) actress who was married to Lenny from 1951 to 1978. Presumably the filmmaker wants to avoid the misogynist (i.e., old-school) biopic portrayal of the wife as incidental to the main subject’s success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An admirable sentiment, but the screenplay’s vagueness about Felicia downplaying her ambitions (a mix of discomfort with the attention, I gathered, devotion to her husband’s rocketing career and the arrival of children) only thickens the movie’s photogenic muddle. Mulligan doesn’t seem to have a fix on the character either, showing off an assortment of tics and wigs, girlish giggles and demure smiles that obscure rather than reveal.\u003c/p>\n\u003cp>Much later, after our initial middling interest in Felicia has been stymied and squandered, Cooper provides Mulligan with any number of monologues and close-ups. The older Academy voters who stick around ‘til the end of the flamboyantly melodramatic \u003cem>Maestro\u003c/em> may be sufficiently moved to tip Mulligan in the Oscars sweepstakes, so there’s that.\u003c/p>\n\u003cfigure id=\"attachment_13938341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg\" alt=\"Woman in long light blue dress at top of stairs with busy wallpaper behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Felicia Montealegre in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings us to Bradley Cooper’s showy lead performance, a hyperactive and often entertaining fount of bravado that is inseparable from the movie. Cooper’s original impulse as a writer and director may have been to explore the yin and the yang of Bernstein’s public and private lives, but what emerges to define the film is a different tug of war — between art and ego.\u003c/p>\n\u003cp>I don’t think that’s the issue Cooper wants us to engage with, but by the end of \u003cem>Maestro\u003c/em> we can’t escape it. His character is in nearly every scene, and in almost every one of those scenes he is the focus and the engine. It’s all about him, even in those rare moments when he’s off-screen.\u003c/p>\n\u003cp>[aside postid='arts_13938168']To paraphrase Plato (or was it David O. Selznick?), must a movie about a narcissist be narcissistic? You may deduce I’m not entirely talking about Bernstein now. My problem with \u003cem>Maestro\u003c/em> is that I frequently couldn’t distinguish between the character and the director. That is, when the film thought it was telling us something about Bernstein I wondered if, in fact, Cooper’s choices — the composition of shots and the storytelling — were revealing more about himself.\u003c/p>\n\u003cp>Consider the numerous concert scenes populated by hundreds of people in various modes of dress. They aren’t presented as music lovers or art aficionados — the performances aren’t for or about them. They are staged as backdrops for Bernstein’s seemingly insatiable need.\u003c/p>\n\u003cp>At the same time, they are elaborate, expensive recreations filled with costumed extras hired to fulfill the director’s vision — or should I say ego? That I wasn’t completely certain that the purpose of those scenes was to convey Bernstein’s pleasure is a small problem.\u003c/p>\n\u003cfigure id=\"attachment_13938342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg\" alt=\"Full orchestra, two opera singers and conductor gesturing wide in front\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soloists Isabel Leonard and Rosa Feola with Bradley Cooper as Leonard Bernstein in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real Bernstein made a poignant appearance last year in \u003cem>Tár\u003c/em>, Todd Field’s galvanizing fictional portrait of a contemporary female conductor and composer (Cate Blanchett). Bernstein was cited as her beloved mentor, and at a low point she watches one of his Young People’s Concerts televised in the 1960s.\u003c/p>\n\u003cp>[aside postid='arts_13938143']Tár had been inspired by Bernstein’s talent for making classical music accessible to mass audiences, and especially by his ability to educate. After seeing \u003cem>Maestro\u003c/em>, though, it strikes me that Tár’s problems stemmed from her adopting Lenny’s sense of entitlement and impunity as well.\u003c/p>\n\u003cp>In \u003cem>Maestro\u003c/em>, Bernstein is not publicly bisexual but he is uncommonly indiscreet for a married man. Yet somehow Felicia is unaware until she catches him making out with a new arrival at a party several years into their marriage. (There are several party scenes, replete with cigarettes, if you want a hit of New York society at particular points in time.)\u003c/p>\n\u003cp>The movie doesn’t suggest that Bernstein has a strong sexual appetite, so it isn’t physical desire that drives him but the need to attract, seduce and dominate. And because he is Lenny, and he is widely acknowledged as a musical genius, all will be forgiven.\u003c/p>\n\u003cp>Ultimately, \u003cem>Maestro\u003c/em> is Cooper’s demand to be taken seriously as an artist (which was not Bernstein’s problem, to be clear). We haven’t seen a declaration quite like this from a Hollywood leading man who fancied himself an auteur since Warren Beatty, who at least had the ability to laugh at himself.\u003c/p>\n\u003cp>But why stop there? Cooper’s real inspiration isn’t Leonard Bernstein so much as Orson Welles, the original (aside from Chaplin) actor, writer and director. Welles had a pretty high opinion of himself, it must be said, though like Bernstein, he was an artist.\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>\u003ci>‘Maestro’ opens in theaters on Nov. 22 and streams on Netflix starting Dec. 20.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Several reels into Bradley Cooper’s manically over-orchestrated \u003cem>Maestro\u003c/em>, Mr. and Mrs. Leonard Bernstein (Cooper and Carey Mulligan) glide into their immaculate 1950s New York living room for a remote interview for CBS journalist Edward R. Murrow’s \u003ci>Person to Person\u003c/i> show.\u003c/p>\n\u003cp>We’re still in the black-and-white half of the film, and the alabaster curlicues spiraling from the century’s more stylish and dexterous chain-smokers distract momentarily from Murrow’s question about the attractions of composing versus conducting music. Be advised this is not an isolated occurrence: Every single shot in this movie calls attention to itself with the subtlety of a blast of French horns.\u003c/p>\n\u003cp>The crux of \u003cem>Maestro\u003c/em> lies in Bernstein’s answer. He describes composition as a creative, private act (in a word, art) and conducting as a public performance. Film directors who write their own screenplays (in a word, auteurs) frequently describe a similar dichotomy, with the “public” aspect consisting of collaboration in production.\u003c/p>\n\u003cfigure id=\"attachment_13938340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg\" alt=\"White man in dark suit and white woman in white dress sit on couch with cigarettes in hands\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220930_21967_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bradley Cooper as Leonard Bernstein and Carey Mulligan as Felicia Montealegre in ‘Maestro,’ smoking, of course. \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper and co-screenwriter Josh Singer have conceived and structured \u003cem>Maestro\u003c/em> (opening Wednesday, Nov. 22 in theaters before debuting Dec. 20 on Netflix) to highlight the tensions and contradictions between the charismatic public figure of Leonard Bernstein — an ambitious and acclaimed wunderkind who became a full-fledged star and household name — and the private man: an artist frustrated by his insufficient number of high-art compositions, a loving husband and father, and a lover of men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s a symphony in itself, yet Cooper also ascribes near-equal prominence to Felicia Montealegre, the Costa Rican stage (and later, television) actress who was married to Lenny from 1951 to 1978. Presumably the filmmaker wants to avoid the misogynist (i.e., old-school) biopic portrayal of the wife as incidental to the main subject’s success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An admirable sentiment, but the screenplay’s vagueness about Felicia downplaying her ambitions (a mix of discomfort with the attention, I gathered, devotion to her husband’s rocketing career and the arrival of children) only thickens the movie’s photogenic muddle. Mulligan doesn’t seem to have a fix on the character either, showing off an assortment of tics and wigs, girlish giggles and demure smiles that obscure rather than reveal.\u003c/p>\n\u003cp>Much later, after our initial middling interest in Felicia has been stymied and squandered, Cooper provides Mulligan with any number of monologues and close-ups. The older Academy voters who stick around ‘til the end of the flamboyantly melodramatic \u003cem>Maestro\u003c/em> may be sufficiently moved to tip Mulligan in the Oscars sweepstakes, so there’s that.\u003c/p>\n\u003cfigure id=\"attachment_13938341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg\" alt=\"Woman in long light blue dress at top of stairs with busy wallpaper behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20220711_11277_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Felicia Montealegre in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings us to Bradley Cooper’s showy lead performance, a hyperactive and often entertaining fount of bravado that is inseparable from the movie. Cooper’s original impulse as a writer and director may have been to explore the yin and the yang of Bernstein’s public and private lives, but what emerges to define the film is a different tug of war — between art and ego.\u003c/p>\n\u003cp>I don’t think that’s the issue Cooper wants us to engage with, but by the end of \u003cem>Maestro\u003c/em> we can’t escape it. His character is in nearly every scene, and in almost every one of those scenes he is the focus and the engine. It’s all about him, even in those rare moments when he’s off-screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To paraphrase Plato (or was it David O. Selznick?), must a movie about a narcissist be narcissistic? You may deduce I’m not entirely talking about Bernstein now. My problem with \u003cem>Maestro\u003c/em> is that I frequently couldn’t distinguish between the character and the director. That is, when the film thought it was telling us something about Bernstein I wondered if, in fact, Cooper’s choices — the composition of shots and the storytelling — were revealing more about himself.\u003c/p>\n\u003cp>Consider the numerous concert scenes populated by hundreds of people in various modes of dress. They aren’t presented as music lovers or art aficionados — the performances aren’t for or about them. They are staged as backdrops for Bernstein’s seemingly insatiable need.\u003c/p>\n\u003cp>At the same time, they are elaborate, expensive recreations filled with costumed extras hired to fulfill the director’s vision — or should I say ego? That I wasn’t completely certain that the purpose of those scenes was to convey Bernstein’s pleasure is a small problem.\u003c/p>\n\u003cfigure id=\"attachment_13938342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg\" alt=\"Full orchestra, two opera singers and conductor gesturing wide in front\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Maestro_20221020_23653_R_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soloists Isabel Leonard and Rosa Feola with Bradley Cooper as Leonard Bernstein in ‘Maestro.’ \u003ccite>(Jason McDonald/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real Bernstein made a poignant appearance last year in \u003cem>Tár\u003c/em>, Todd Field’s galvanizing fictional portrait of a contemporary female conductor and composer (Cate Blanchett). Bernstein was cited as her beloved mentor, and at a low point she watches one of his Young People’s Concerts televised in the 1960s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tár had been inspired by Bernstein’s talent for making classical music accessible to mass audiences, and especially by his ability to educate. After seeing \u003cem>Maestro\u003c/em>, though, it strikes me that Tár’s problems stemmed from her adopting Lenny’s sense of entitlement and impunity as well.\u003c/p>\n\u003cp>In \u003cem>Maestro\u003c/em>, Bernstein is not publicly bisexual but he is uncommonly indiscreet for a married man. Yet somehow Felicia is unaware until she catches him making out with a new arrival at a party several years into their marriage. (There are several party scenes, replete with cigarettes, if you want a hit of New York society at particular points in time.)\u003c/p>\n\u003cp>The movie doesn’t suggest that Bernstein has a strong sexual appetite, so it isn’t physical desire that drives him but the need to attract, seduce and dominate. And because he is Lenny, and he is widely acknowledged as a musical genius, all will be forgiven.\u003c/p>\n\u003cp>Ultimately, \u003cem>Maestro\u003c/em> is Cooper’s demand to be taken seriously as an artist (which was not Bernstein’s problem, to be clear). We haven’t seen a declaration quite like this from a Hollywood leading man who fancied himself an auteur since Warren Beatty, who at least had the ability to laugh at himself.\u003c/p>\n\u003cp>But why stop there? Cooper’s real inspiration isn’t Leonard Bernstein so much as Orson Welles, the original (aside from Chaplin) actor, writer and director. Welles had a pretty high opinion of himself, it must be said, though like Bernstein, he was an artist.\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>\u003ci>‘Maestro’ opens in theaters on Nov. 22 and streams on Netflix starting Dec. 20.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego",
"headTitle": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego | KQED",
"content": "\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>[aside postid='arts_13937499']But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LIsfMO5Jd_w\u003c/p>\n\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>[aside postid='arts_13938143']In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>[aside postid='arts_13937870']There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\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>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for 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/LIsfMO5Jd_w'\n title='//www.youtube.com/embed/LIsfMO5Jd_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\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>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy",
"headTitle": "Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy | KQED",
"content": "\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>[aside postid='arts_13937866']The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>[aside postid='arts_13937140']But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>[aside postid='arts_13937499']At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Ballad of Songbirds and Snakes’ Is Another Win for ‘The Hunger Games’",
"headTitle": "‘The Ballad of Songbirds and Snakes’ Is Another Win for ‘The Hunger Games’ | KQED",
"content": "\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>[aside postid='pop_14149']That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>[aside postid='pop_16694']In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NxW_X4kzeus\u003c/p>\n\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>[aside postid='arts_13937870']Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>[aside postid='arts_13304145']\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\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/NxW_X4kzeus'\n title='//www.youtube.com/embed/NxW_X4kzeus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"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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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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