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"content": "\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13935703']When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13935566']Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>[aside postid='arts_13933011']Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13936092\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png\" alt=\"A black and white book cover depicting a blonde starlet wearing a 1950s-era gown.\" width=\"946\" height=\"1432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-800x1211.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-768x1163.png 768w\" sizes=\"(max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">‘Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession’ by Laurence Leamer. \u003ccite>(Putnam via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though often lauded as one of the greatest filmmakers of all time, Alfred Hitchcock was also known for having a dark side, including his authoritarian tendencies as a director and sexually inappropriate behavior toward the women in his films. Tippi Hedren, who starred in \u003ca href=\"https://www.kqed.org/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway\">\u003cem>The Birds\u003c/em>\u003c/a> and \u003cem>Marnie\u003c/em>, has even alleged in recent years that the late director sexually assaulted her and threatened her career after she rejected his advances.\u003c/p>\n\u003cp>[aside postid='arts_13904911']For the famed auteur, women, and actors in general, were props to be controlled and molded with the sole purpose of realizing his vision.\u003c/p>\n\u003cp>In \u003cem>Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession\u003c/em>, Laurence Leamer seeks to divert the reader from seeing the female actors through the director’s gaze, constructing instead vignettes that attempt to memorialize these women as more than their captivating beauty.\u003c/p>\n\u003cp>\u003cem>Hitchcock’s Blondes\u003c/em> is part biography of the auteur, part crash course into his catalogue of movies. But mostly this book is just what it says it is: a survey of the women on whom Hitchcock relied to bring his artistry to life.\u003c/p>\n\u003cp>Although Leamer betrays a reverence and appreciation for the filmmaker, Hitchcock is very much the complicated antagonist of the story, the women the sympathetic stooges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923159']His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n",
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"title": "Jamie Foxx Leads a Crowd-Pleasing Courtroom Drama in ‘The Burial’",
"headTitle": "Jamie Foxx Leads a Crowd-Pleasing Courtroom Drama in ‘The Burial’ | KQED",
"content": "\u003cp>Jamie Foxx deploys his movie star charm judiciously and skillfully as a litigator with swagger to spare in \u003cem>The Burial\u003c/em>, a very entertaining courtroom drama.\u003c/p>\n\u003cp>Foxx is one of those actors, blessed with an allure and glamour that runs so deep that it’s almost tempting to dismiss a performance like this as one that’s natural. It’s one of those compliments that’s rotten at its core — of course he, or Clooney, or whomever, is good at being slick and appealing, right? If it looks effortless, we assume it is, denying them the work that goes into every role.\u003c/p>\n\u003cp>[aside postid='arts_13933517']The same could be said for \u003cem>The Burial\u003c/em>, which is glossy, appealing and goes down suspiciously easy. Is there a catch or did director and co-writer Maggie Betts just prove her commercial chops in her sophomore feature? (It’s the latter.) Just take a look at the poster used for its marketing campaign — a little retro, a little cheesy, and a lot self-aware. This movie and everyone involved knows what it is.\u003c/p>\n\u003cp>In a probably skewed memory of the mid-’90s, these sort of mid-budget “rousing courtroom dramas” seemed ubiquitous, but have gone the way of the rom-com, at least in big theatrical releases. \u003cem>The Burial\u003c/em> will be in some theaters for a week, before coming to your living room on Oct. 13 on Prime Video.\u003c/p>\n\u003cp>This story is a classic David vs. Goliath one, in which a Biloxi funeral home owner, Tommy Lee Jones as Jeremiah O’Keefe, goes up against a billionaire, Raymond Loewen (Bill Camp). Both were children of funeral parlor owners, but O’Keefe stayed local while Loewen took the so-called “death care” business corporate. He made a fortune acquiring funeral homes in Canada and then the United States in anticipation of a “golden age of death,” in which the baby boomers start meeting their ends in mass numbers. \u003cem>The Burial\u003c/em> is loosely based on a true story, which was chronicled by Jonathan Harr in The New Yorker in 1999.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Betts focuses her lens on Foxx’s character, Willie E. Gary, a self-made success in personal injury law, who has never lost a case and doesn’t plan to. Jeremiah’s case is a contract one but a young associate played by the always appealing Mamoudou Athie convinces him that he’s going to need a lead counsel who is Black if they’re going to have a chance. The trial has been set for a poor, largely Black area, and Jeremiah’s longtime lawyer, Mike Allred (Alan Ruck, playing a character who would probably be a \u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">Con-Head\u003c/a>), is an obvious racist. He’s working on it, he says chillingly to a team of Black lawyers.\u003c/p>\n\u003cp>When Willie does finally agree to go out of his comfort zone and take on a different kind of case (his ego stoked by the promise that this could make him as famous as Johnnie Cochran), there is a steep and humbling learning curve and a formidable opponent in Jurnee Smollett’s Ivy League-educated lawyer representing the Loewen Group.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZOhIdaufd3Q\u003c/p>\n\u003cp>Betts shares a screenwriting credit with Doug Wright, the Pulitzer and Tony-winning playwright, who has been with the project for years, with Alexander Payne once attached to direct. Betts was coming off a promising, but small, debut — the religious drama \u003cem>Novitiate\u003c/em>, with Margaret Qualley and Melissa Leo. \u003cem>The Burial\u003c/em> too is assured and straightforward, and faces questions about race and privilege and inequality head on. This story is about two older white men fighting about a contract, sure, but Betts and Wright expand its scope with sensitivity and nuance. Like many good courtroom dramas before it, this case is bigger than just these two guys.\u003c/p>\n\u003cp>[aside postid='arts_13935443']Smollett’s Mame is the big invention of the movie, which doesn’t grate the way it usually does when screenwriters add a fictional, exceptional woman to diversify a too-male story. Mame is not a one note character — she is brilliant and accomplished but also keenly aware that she can’t stumble, falter or lose her cool the way her male counterparts can. Sometimes you even forget that you really shouldn’t be rooting for her to win, which is a shrewd touch for a movie with a pretty obvious conclusion and an easily hateable villain.\u003c/p>\n\u003cp>But this show belongs to Foxx, and it’s a fun feast to see him grandstand and doubt himself and charm all kinds of jurors and make us feel empathetic for a guy who is himself ostentatiously wealthy, no matter if it was easy for the actor or not.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Burial,’ is released in theaters on Oct. 6 and begins streaming on Prime Video on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamie Foxx deploys his movie star charm judiciously and skillfully as a litigator with swagger to spare in \u003cem>The Burial\u003c/em>, a very entertaining courtroom drama.\u003c/p>\n\u003cp>Foxx is one of those actors, blessed with an allure and glamour that runs so deep that it’s almost tempting to dismiss a performance like this as one that’s natural. It’s one of those compliments that’s rotten at its core — of course he, or Clooney, or whomever, is good at being slick and appealing, right? If it looks effortless, we assume it is, denying them the work that goes into every role.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The same could be said for \u003cem>The Burial\u003c/em>, which is glossy, appealing and goes down suspiciously easy. Is there a catch or did director and co-writer Maggie Betts just prove her commercial chops in her sophomore feature? (It’s the latter.) Just take a look at the poster used for its marketing campaign — a little retro, a little cheesy, and a lot self-aware. This movie and everyone involved knows what it is.\u003c/p>\n\u003cp>In a probably skewed memory of the mid-’90s, these sort of mid-budget “rousing courtroom dramas” seemed ubiquitous, but have gone the way of the rom-com, at least in big theatrical releases. \u003cem>The Burial\u003c/em> will be in some theaters for a week, before coming to your living room on Oct. 13 on Prime Video.\u003c/p>\n\u003cp>This story is a classic David vs. Goliath one, in which a Biloxi funeral home owner, Tommy Lee Jones as Jeremiah O’Keefe, goes up against a billionaire, Raymond Loewen (Bill Camp). Both were children of funeral parlor owners, but O’Keefe stayed local while Loewen took the so-called “death care” business corporate. He made a fortune acquiring funeral homes in Canada and then the United States in anticipation of a “golden age of death,” in which the baby boomers start meeting their ends in mass numbers. \u003cem>The Burial\u003c/em> is loosely based on a true story, which was chronicled by Jonathan Harr in The New Yorker in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Betts focuses her lens on Foxx’s character, Willie E. Gary, a self-made success in personal injury law, who has never lost a case and doesn’t plan to. Jeremiah’s case is a contract one but a young associate played by the always appealing Mamoudou Athie convinces him that he’s going to need a lead counsel who is Black if they’re going to have a chance. The trial has been set for a poor, largely Black area, and Jeremiah’s longtime lawyer, Mike Allred (Alan Ruck, playing a character who would probably be a \u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">Con-Head\u003c/a>), is an obvious racist. He’s working on it, he says chillingly to a team of Black lawyers.\u003c/p>\n\u003cp>When Willie does finally agree to go out of his comfort zone and take on a different kind of case (his ego stoked by the promise that this could make him as famous as Johnnie Cochran), there is a steep and humbling learning curve and a formidable opponent in Jurnee Smollett’s Ivy League-educated lawyer representing the Loewen Group.\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/ZOhIdaufd3Q'\n title='//www.youtube.com/embed/ZOhIdaufd3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Betts shares a screenwriting credit with Doug Wright, the Pulitzer and Tony-winning playwright, who has been with the project for years, with Alexander Payne once attached to direct. Betts was coming off a promising, but small, debut — the religious drama \u003cem>Novitiate\u003c/em>, with Margaret Qualley and Melissa Leo. \u003cem>The Burial\u003c/em> too is assured and straightforward, and faces questions about race and privilege and inequality head on. This story is about two older white men fighting about a contract, sure, but Betts and Wright expand its scope with sensitivity and nuance. Like many good courtroom dramas before it, this case is bigger than just these two guys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Smollett’s Mame is the big invention of the movie, which doesn’t grate the way it usually does when screenwriters add a fictional, exceptional woman to diversify a too-male story. Mame is not a one note character — she is brilliant and accomplished but also keenly aware that she can’t stumble, falter or lose her cool the way her male counterparts can. Sometimes you even forget that you really shouldn’t be rooting for her to win, which is a shrewd touch for a movie with a pretty obvious conclusion and an easily hateable villain.\u003c/p>\n\u003cp>But this show belongs to Foxx, and it’s a fun feast to see him grandstand and doubt himself and charm all kinds of jurors and make us feel empathetic for a guy who is himself ostentatiously wealthy, no matter if it was easy for the actor or not.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Burial,’ is released in theaters on Oct. 6 and begins streaming on Prime Video on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Royal Hotel\u003c/em> is a horror movie but don’t expect any jump-cuts, scary masks or serial killers. It’s more like the horror that dawns on a frog when it realizes it is being boiled alive.\u003c/p>\n\u003cp>Filmmaker Kitty Green tells a captivating tale of two young American female backpackers who find themselves tending bar for a few weeks in a very remote part of Australia.\u003c/p>\n\u003cp>[aside postid='arts_13935519']The bar is a dump ironically called “The Royal Hotel” and the clientele are rough, hard-drinking miners unfamiliar with the etiquette of Miss Manners or even just respectful interaction.\u003c/p>\n\u003cp>Our two heroines — Julia Garner from \u003cem>Ozark\u003c/em> and Jessica Henwick from \u003cem>Glass Onion: A Knives Out Mystery\u003c/em> — really should not be in this situation. They are the recipients of dirty jokes, drunken behavior, offensive nicknames and constant propositions. One client pays for his beer by passive-aggressively tossing coins at them.\u003c/p>\n\u003cp>“Wouldn’t hurt you to smile a bit?” they are asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green, who directs with a screenplay she wrote with Oscar Redding, explores how women respond to a male-centered environment and how it can test their own friendship. The constant threat of violence hangs over this tale very uncomfortably, its wingman always being alcohol. Would-be heroes come and then show their true nature, slinking off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U9zq_4ED-pI\u003c/p>\n\u003cp>It is a subtle movie, with the growing accretion of indignities building slowly until one of the women blurts out: “I’m scared. I’m scared of this place. I’m scared of everyone and everything in this place.”\u003c/p>\n\u003cp>And yet, they stay.\u003c/p>\n\u003cp>The remoteness of the bar — a bus is always several days away — helps explain some of the stasis, but the two women have the very human tendency to settle: They make excuses, they blame themselves, they point to cultural misunderstandings and another day begins.\u003c/p>\n\u003cp>[aside postid='arts_13897161']Hugo Weaving plays the bar owner, the arbiter of what is correct (mis)behavior. But the moral center is played by Ursula Yovich, who speaks truth to power and when she leaves, allows chaos to fully enter.\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> has a pessimistic — OK, accurate — view of gender relations. The two sides simply don’t understand each other — “I can’t hear you,” says one of the women early on to a would-be suitor — and attempts at conversation are so often drowned out by noise. It asks how you can rationalize ending up mopping up puke in a dive bar in rural Down Under.\u003c/p>\n\u003cp>The movie perfectly starts with a dark remix of Men at Work’s “Down Under.” Remember the lyrics: “Buying bread from a man in Brussels/ He was 6-foot-4 and full of muscle/ I said, ‘Do you speak my language?’ He just smiled and gave me a Vegemite sandwich.”\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> shares a vibe with Alex Garland’s sophisticated horror film \u003cem>Men\u003c/em> — an arty indictment of toxic masculinity that often felt like a lecture. But Green’s film doesn’t feel like that. The final scene will make you cheer, even if the ultimate message is murky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal Hotel’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Green, who directs with a screenplay she wrote with Oscar Redding, explores how women respond to a male-centered environment and how it can test their own friendship. The constant threat of violence hangs over this tale very uncomfortably, its wingman always being alcohol. Would-be heroes come and then show their true nature, slinking off.\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/U9zq_4ED-pI'\n title='//www.youtube.com/embed/U9zq_4ED-pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is a subtle movie, with the growing accretion of indignities building slowly until one of the women blurts out: “I’m scared. I’m scared of this place. I’m scared of everyone and everything in this place.”\u003c/p>\n\u003cp>And yet, they stay.\u003c/p>\n\u003cp>The remoteness of the bar — a bus is always several days away — helps explain some of the stasis, but the two women have the very human tendency to settle: They make excuses, they blame themselves, they point to cultural misunderstandings and another day begins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo",
"headTitle": "With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo | KQED",
"content": "\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>[aside postid='arts_13935703']“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQDmT_Cih2Q\u003c/p>\n\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>[aside postid='arts_13935225']Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>[aside postid='arts_13933589']“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>[aside postid='arts_13930323']As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\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>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\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/SQDmT_Cih2Q'\n title='//www.youtube.com/embed/SQDmT_Cih2Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\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>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America",
"headTitle": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America | KQED",
"content": "\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony",
"headTitle": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13935443']As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ex3C1-5Dhb8\u003c/p>\n\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>[aside postid='arts_13935225']In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ex3C1-5Dhb8'\n title='//www.youtube.com/embed/ex3C1-5Dhb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’",
"headTitle": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’ | KQED",
"content": "\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>[aside postid='arts_13935219']As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vICUPlr3EEI\u003c/p>\n\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>[aside postid='arts_13934736']On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\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>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\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=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\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/vICUPlr3EEI'\n title='//www.youtube.com/embed/vICUPlr3EEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\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>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\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=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "russell-brand-sexual-assault-allegations-channel-4-dispatches-sunday-times",
"title": "What Is Russell Brand Accused of? Here Are the Allegations From the UK Investigation",
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"content": "\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>[aside postid='arts_13934462']During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>[aside postid='arts_13933160']Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>[aside postid='arts_13928974']Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13923161']“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n",
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"title": "All the Allegations Against Russell Brand in Channel 4’s ‘Dispatches’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland",
"headTitle": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED",
"content": "\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuiMrxuSR2o\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>[aside postID='arts_11230644']The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\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/FuiMrxuSR2o'\n title='//www.youtube.com/embed/FuiMrxuSR2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil",
"headTitle": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil | KQED",
"content": "\u003cp>Satirizing history’s mass murderers and their acolytes is risky business for filmmakers. The concern isn’t courting controversy as much as missing the mark: Jokes that don’t cut, humor with no bite, a misguided fear of offending the viewer that only succeeds in trivializing the tragedy.\u003c/p>\n\u003cp>Chilean director Pablo Larraín’s latest excursion into the inner lives of famous 20th-century figures, \u003cem>El Conde\u003c/em> \u003cem>(The Count)\u003c/em>, debuting Sept. 15 on Netflix following its festival premieres, puts the bite where it belongs: on the infamous dictator Augusto Pinochet, his family, the elites who prospered by backing his repression — and even the Catholic Church, which always has its own agenda.[aside postid='arts_13869391'] A stylish black-and-white cross between Southern (Hemisphere) Gothic and Grand Guignol opera, the bilingual \u003cem>El Conde\u003c/em> is a beautifully crafted parable about corruption and its dissolute beneficiaries.\u003c/p>\n\u003cp>Larraín and co-writer Guillermo Calderon (whose previous collaborations include the marvelous \u003cem>Neruda\u003c/em>) imagine Pinochet (Jaime Vadell) as a jaded vampire living with his fur-swathed wife Lucía (Gloria Munchmeyer) and longtime servant Fyodor (Alfredo Castro) in a remote, uninhabited corner of Chile. Like a retired, post-apocalyptic Bond villain, Pinochet has his memories, a basement freezer stocked of choice hearts for blender drinks and zero passion for life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGvX7ma7Xnk\u003c/p>\n\u003cp>An Englishwoman with Helen Mirren’s droll, caustic delivery recounts Pinochet’s origin story. Born in France in the 19th century and orphaned at a young age, he became an army officer. That’s when the Count discovers his true nature, though that scene won’t stick with me nearly as long as the image of him licking Marie Antoinette’s blood off the guillotine blade (right after we’ve been treated to a glimpse of her decapitated head).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once Pinochet lands in Chile a century and a half later, Larrain mixes in some actual history of the 1973 U.S.-backed coup that left democratically elected President Salvador Allende dead and Pinochet’s aggregation of thugs in power. Larraín’s Pinochet still maintains he was simply eliminating Communists — but, of course, one man’s anti-Communist is another man’s fascist.\u003c/p>\n\u003cfigure id=\"attachment_13934835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934835\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg\" alt=\"a group of people stand around a person lying on a table looking concerned\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Diego Muñoz as Manuel, Gloria Münchmeyer as Lucía, Antonia Zegers as Jacinta, Catalina Guerrera as Luciana and Amparo Noguera as Mercedes in ‘El Conde.’ \u003ccite>(Cr. Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the funniest and darkest conversations in \u003cem>El Conde\u003c/em> takes place in the vicinity of the aforementioned freezer. A peeved Fyodor (who is not just a loyal manservant but, bitten by Pinochet some years ago, his slave) declares, “I liked killing. You liked stealing.”\u003c/p>\n\u003cp>“No, I liked killing, too,” the Count asserts, perversely defending his self-invented reputation even in a private exchange with the single most reliable witness to his self-serving career. It’s a deranged, Trump-like moment (albeit without the bombast) that evokes the cruelty and ghastliness of Pinochet’s reign. (Jaime Vadell’s multidimensional portrayal stands alongside John Huston, Christopher Plummer and Frank Langella’s memorably menacing portrayals of seething aged patriarchs.)\u003c/p>\n\u003cp>The public misperception of his “legacy” — that he was a dedicated thief and no more — seems to be Pinochet’s motivation to tie up loose ends and shuffle off this immortal coil. It is the vast array of bearer bonds and stock certificates, however — their inheritance! that has drawn his and Lucia’s five grown-up children to the airless house. So craven are they that address their father as “my general.”\u003c/p>\n\u003cp>All this time, meanwhile, a dedicated young nun named Carmencita (Paula Luchsinger), whose superpower is accounting, is closing on the Count. Her charm, combined with the Pinochet clan’s shamelessness — that is, their expectation of blank-check immunity as part of their privilege — uncovers the extent and location of Pinochet’s accumulated fortune.\u003c/p>\n\u003cfigure id=\"attachment_13934833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-800x554.jpg\" alt=\"a black and white still image from a film of a young woman in a long cardigan holding a notebook as she sits on a bench, looking up\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paula Luchsinger as Carmencita in ‘El Conde.’ \u003ccite>(Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But wait: It turns out Carmencita was actually dispatched by her superiors to perform an exorcism of the Count. The Church, you understand, is focused on saving souls, not the grubby muck of money. That’s the reason Larrain photographs Carmencita at a crucial moment to look like the heroine of T\u003cem>he Passion of Joan of Arc\u003c/em>, Carl Theodor Dreyer’s silent-era masterpiece.\u003c/p>\n\u003cp>But can the Church outwit Satan? Or will the Count seduce and subvert the special counsel, er, covert investigator?\u003c/p>\n\u003cp>Larraín’s political commentary, meanwhile, reaches its apex with a series of audacious, chilling third-act revelations, ones I shouldn’t reveal. These nasty bits provide a (mostly) serious coda to the backstabbing and puréed-heart quaffing with which he has entertained us for the previous hour and 45 minutes.\u003c/p>\n\u003cp>Nonetheless, exactly 50 years after Pinochet’s coup, I was expecting a more viscerally savage revenge flick. To be sure, \u003cem>El Conde\u003c/em> is far more gruesome than your typical domestic melodrama, but it is also more artful — and thoughtful — than a genre horror film. Larraín doesn’t give us the catharsis of driving a stake through the tyrant’s heart, a fantasy as potentially satisfying as a verdict from the International Criminal Court in The Hague.\u003c/p>\n\u003cp>Instead, he opts for an ending that is both disturbing and haunting. Jason, Freddy Krueger and Michael Myers, eat your (or someone else’s) heart out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>El Conde\u003c/em> \u003cem>(The Count) begins streaming Sept. 15 on Netflix.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Pablo Larraín's black comedy/horror film imagines Augusto Pinochet as a vampire who's lost his appetite.",
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"title": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Satirizing history’s mass murderers and their acolytes is risky business for filmmakers. The concern isn’t courting controversy as much as missing the mark: Jokes that don’t cut, humor with no bite, a misguided fear of offending the viewer that only succeeds in trivializing the tragedy.\u003c/p>\n\u003cp>Chilean director Pablo Larraín’s latest excursion into the inner lives of famous 20th-century figures, \u003cem>El Conde\u003c/em> \u003cem>(The Count)\u003c/em>, debuting Sept. 15 on Netflix following its festival premieres, puts the bite where it belongs: on the infamous dictator Augusto Pinochet, his family, the elites who prospered by backing his repression — and even the Catholic Church, which always has its own agenda.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> A stylish black-and-white cross between Southern (Hemisphere) Gothic and Grand Guignol opera, the bilingual \u003cem>El Conde\u003c/em> is a beautifully crafted parable about corruption and its dissolute beneficiaries.\u003c/p>\n\u003cp>Larraín and co-writer Guillermo Calderon (whose previous collaborations include the marvelous \u003cem>Neruda\u003c/em>) imagine Pinochet (Jaime Vadell) as a jaded vampire living with his fur-swathed wife Lucía (Gloria Munchmeyer) and longtime servant Fyodor (Alfredo Castro) in a remote, uninhabited corner of Chile. Like a retired, post-apocalyptic Bond villain, Pinochet has his memories, a basement freezer stocked of choice hearts for blender drinks and zero passion for life.\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/YGvX7ma7Xnk'\n title='//www.youtube.com/embed/YGvX7ma7Xnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An Englishwoman with Helen Mirren’s droll, caustic delivery recounts Pinochet’s origin story. Born in France in the 19th century and orphaned at a young age, he became an army officer. That’s when the Count discovers his true nature, though that scene won’t stick with me nearly as long as the image of him licking Marie Antoinette’s blood off the guillotine blade (right after we’ve been treated to a glimpse of her decapitated head).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once Pinochet lands in Chile a century and a half later, Larrain mixes in some actual history of the 1973 U.S.-backed coup that left democratically elected President Salvador Allende dead and Pinochet’s aggregation of thugs in power. Larraín’s Pinochet still maintains he was simply eliminating Communists — but, of course, one man’s anti-Communist is another man’s fascist.\u003c/p>\n\u003cfigure id=\"attachment_13934835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934835\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg\" alt=\"a group of people stand around a person lying on a table looking concerned\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Diego Muñoz as Manuel, Gloria Münchmeyer as Lucía, Antonia Zegers as Jacinta, Catalina Guerrera as Luciana and Amparo Noguera as Mercedes in ‘El Conde.’ \u003ccite>(Cr. Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the funniest and darkest conversations in \u003cem>El Conde\u003c/em> takes place in the vicinity of the aforementioned freezer. A peeved Fyodor (who is not just a loyal manservant but, bitten by Pinochet some years ago, his slave) declares, “I liked killing. You liked stealing.”\u003c/p>\n\u003cp>“No, I liked killing, too,” the Count asserts, perversely defending his self-invented reputation even in a private exchange with the single most reliable witness to his self-serving career. It’s a deranged, Trump-like moment (albeit without the bombast) that evokes the cruelty and ghastliness of Pinochet’s reign. (Jaime Vadell’s multidimensional portrayal stands alongside John Huston, Christopher Plummer and Frank Langella’s memorably menacing portrayals of seething aged patriarchs.)\u003c/p>\n\u003cp>The public misperception of his “legacy” — that he was a dedicated thief and no more — seems to be Pinochet’s motivation to tie up loose ends and shuffle off this immortal coil. It is the vast array of bearer bonds and stock certificates, however — their inheritance! that has drawn his and Lucia’s five grown-up children to the airless house. So craven are they that address their father as “my general.”\u003c/p>\n\u003cp>All this time, meanwhile, a dedicated young nun named Carmencita (Paula Luchsinger), whose superpower is accounting, is closing on the Count. Her charm, combined with the Pinochet clan’s shamelessness — that is, their expectation of blank-check immunity as part of their privilege — uncovers the extent and location of Pinochet’s accumulated fortune.\u003c/p>\n\u003cfigure id=\"attachment_13934833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-800x554.jpg\" alt=\"a black and white still image from a film of a young woman in a long cardigan holding a notebook as she sits on a bench, looking up\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paula Luchsinger as Carmencita in ‘El Conde.’ \u003ccite>(Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But wait: It turns out Carmencita was actually dispatched by her superiors to perform an exorcism of the Count. The Church, you understand, is focused on saving souls, not the grubby muck of money. That’s the reason Larrain photographs Carmencita at a crucial moment to look like the heroine of T\u003cem>he Passion of Joan of Arc\u003c/em>, Carl Theodor Dreyer’s silent-era masterpiece.\u003c/p>\n\u003cp>But can the Church outwit Satan? Or will the Count seduce and subvert the special counsel, er, covert investigator?\u003c/p>\n\u003cp>Larraín’s political commentary, meanwhile, reaches its apex with a series of audacious, chilling third-act revelations, ones I shouldn’t reveal. These nasty bits provide a (mostly) serious coda to the backstabbing and puréed-heart quaffing with which he has entertained us for the previous hour and 45 minutes.\u003c/p>\n\u003cp>Nonetheless, exactly 50 years after Pinochet’s coup, I was expecting a more viscerally savage revenge flick. To be sure, \u003cem>El Conde\u003c/em> is far more gruesome than your typical domestic melodrama, but it is also more artful — and thoughtful — than a genre horror film. Larraín doesn’t give us the catharsis of driving a stake through the tyrant’s heart, a fantasy as potentially satisfying as a verdict from the International Criminal Court in The Hague.\u003c/p>\n\u003cp>Instead, he opts for an ending that is both disturbing and haunting. Jason, Freddy Krueger and Michael Myers, eat your (or someone else’s) heart out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>El Conde\u003c/em> \u003cem>(The Count) begins streaming Sept. 15 on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"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.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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},
"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/",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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