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"content": "\u003cp>It’s turning out to be quite a summer for superspies and supercomputers.\u003c/p>\n\u003cp>A month after the action feast of \u003cem>Mission: Impossible — Dead Reckoning Part I,\u003c/em> in which Tom Cruise faced off with an AI supervillain called “the Entity,” comes a very \u003cem>MI\u003c/em>-like international espionage thriller with an equally fancy and powerful machine.\u003c/p>\n\u003cp>\u003cem>Heart of Stone\u003c/em> stars Gal Gadot as Rachel Stone, an agent for an elite and clandestine intelligence agency called the Charter. 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And \u003cem>Heart of Stone\u003c/em>, directed by Tom Harper (\u003cem>Wild Rose, The Aeronauts\u003c/em> ), does have a few nifty moves of its own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuDwndGaCFo\u003c/p>\n\u003cp>The film’s opening sequence begins in a very Bond-like Alpine hotel where Gadot’s Stone is part of an MI6 mission posing as an inexperienced tech, not a field agent. This allows for plenty of “She can do that?” looks when the operation falls apart and Stone begins flashing Cruise-level skills while rushing off with a glowing parachute down the darkened slopes in a slinky, snowy chase.\u003c/p>\n\u003cp>To the credit of Harper, cinematographer George Steel and production designer Charles Wood, the action is generally fluid in \u003cem>Heart of Stone\u003c/em>. The film’s handsomest design comes in Charter’s secret weapon: the Heart, the so-named quantum computer with supreme hacking abilities that can process chance-of-success scenarios in real time. Its operator (Matthias Schweighöfer), like a new-age John King, contorts a room full of pixels with the wave of his hand, while guiding Charter agents from afar.\u003c/p>\n\u003cp>[aside postid='arts_13932805']Also in the mix is Jamie Dornan’s Parker, the leader of the MI6 unit that Stone is initially masquerading in — though his affiliations are also murky. The trouble is kicked off by a hacker of mysterious intentions played by Alia Bhatt, a Bollywood star making her Hollywood debut. Glenn Close pops in as the head of the CIA.\u003c/p>\n\u003cp>I’m not sure any of them get a chance to do all that much, though Bhatt is charmingly mischievous in her scenes. Not for the first time, the actor I most wish was center stage is Sophie Okonedo, who, as a Charter leader, is the most soulful presence in a not particularly soulful film. Gadot makes for a slinky if unspectacular spy.\u003c/p>\n\u003cp>The plot, from screenwriters Greg Rucka and Allison Schroeder, revolves around the threat of the Heart falling into the wrong hands. This means that “Heart” is spoken of so much that you have expect the Wilson sisters to turn up eventually.\u003c/p>\n\u003cp>But there is nothing in the impressively generic \u003cem>Heart of Stone\u003c/em>, right down to that title, that is even a little bit unexpected. All the pieces here are fine but nothing is distinct from dozens of films before it. 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"content": "\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.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=\"800\" height=\"533\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>[aside postid='arts_13924636']#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>[aside postid='arts_13931892']The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\n\u003cp>https://twitter.com/TheSwiftSociety/status/1686886319832616960\u003c/p>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>[aside postid='arts_13931981']Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\n\u003cp>https://twitter.com/BuzzingPop/status/1687670252501368832\u003c/p>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\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=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.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=\"800\" height=\"533\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\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=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You might be wondering why \u003ca href=\"https://www.imdb.com/title/tt7645334/\">\u003cem>Landscape With Invisible Hand\u003c/em>\u003c/a> has such an unwieldy title. I certainly did, walking into a movie I had assumed, based on the trailer, would be a clever little allegory about reality TV and social media influencing, set to a backdrop of alien invasion. I wondered: Shouldn’t any movie that prominently features squishy little pink slug creatures have a punchier name than this?\u003c/p>\n\u003cp>[aside postid='arts_13932598']An hour and 45 minutes later, I realized the title was, in fact, perfect. (Those who’ve already read the \u003ca href=\"https://www.goodreads.com/en/book/show/33281801\">M.T. Anderson novel\u003c/a> it’s based on might agree.) This movie doesn’t just do the thing you think it’s going to. It slowly and steadily bombards you with analogies — about gentrification, racism, colonialism, education, othering, moral compromises, information filtering — until you thoroughly realize what the invisible hand in the title is. And no, it has nothing to do with aliens.\u003c/p>\n\u003cp>The story begins as aspiring artist Adam (the wonderful Asante Blackk, best known for his role in \u003cem>This is Us\u003c/em>) connects with a new girl at his school, Chloe (Kylie Rogers), who has a fondness for scavenging in junkyards. The two share an easy rapport and a similarly frustrated-but-reconciled approach to the fact that alien overlords — a group known as the Vuvv — have made the teens’ futures bleak and their family’s lives enormously difficult. The Vuvv, incidentally, live on luxurious islands that hang low in Earth’s airspace, frequently blocking humanity’s view of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13932572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-800x454.png\" alt=\"A pink alien creature, made with CGI, that resembles a slug crossed with a crab.\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-1536x871.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM.png 1858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A member of the Vuvv. Cute, sure, but terribly mean when it comes to money. \u003ccite>(‘Landscape With Invisible Hand.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the two begin to date, Chloe comes up with the idea to broadcast their “courtship” to the Vuvv, a species that reproduces asexually and is fascinated by human romantic relationships — or, at least, 1950s sitcom versions thereof. The Vuvv pay couples for broadcasts of their dating lives according to how popular they are and how many followers they have. Chloe and Adam quickly rake in enough money to buy their families small luxuries like actual meat and vegetables, as opposed to what everyone else on Earth eats now — synthetic food cubes printed by the Vuvv.\u003c/p>\n\u003cp>When cracks start to appear in their relationship, the Vuvv accuse Chloe and Adam of fraud and threaten to force their families into poverty for the next six generations. To avoid this, Chloe, Adam and their respective family members must figure out ways to appease the aliens. Their attempts to do so create a series of absurd but unsettling events that ultimately say more about how humans survive today than how we might endure an imaginary future under occupying aliens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lAD81wjRnL8\u003c/p>\n\u003cp>\u003cem>Landscape With Invisible Hand\u003c/em> is dense with commentary on just about all of the terrible things humans do — to each other and ourselves — because of money, social class and status. A nice touch in this tale is the fact that the Vuvv were actively welcomed by the human race, enticed by the promise of better technology and easier lives. It’s an entirely plausible premise that highlights our shortsighted nature beautifully.\u003c/p>\n\u003cp>[aside postid='arts_13932789']It helps, too, that the cast of \u003cem>Landscape With Invisible Hand \u003c/em>is brilliant across the board. Tiffany Haddish, as Adam’s industrious mother, brings a realistic grounding to proceedings even as her storyline veers into particularly bizarre territory. As Chloe’s father, \u003cem>The Walking Dead\u003c/em>‘s Josh Hamilton is the ideal combination of snide and desperate as his place in the world prompts his ever-growing resentments to boil over. At the center of it all, Blackk and Rogers convincingly paint the picture of a love that may have had real potential if not for being interrupted by the pressures of financial destitution.\u003c/p>\n\u003cp>You’ll come out of \u003cem>Landscape With Invisible Hand\u003c/em> wholly entertained, but not a little queasy. With the exception of \u003cem>Sorry to Bother You\u003c/em>, it’s hard to think of another movie that so thoroughly explores the perniciousness of late-stage capitalism with such verve and humor. It’ll leave you questioning the very fabric upon which our modern world is built.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Landscape With Invisible Hand’ is released nationwide on Aug. 18, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might be wondering why \u003ca href=\"https://www.imdb.com/title/tt7645334/\">\u003cem>Landscape With Invisible Hand\u003c/em>\u003c/a> has such an unwieldy title. I certainly did, walking into a movie I had assumed, based on the trailer, would be a clever little allegory about reality TV and social media influencing, set to a backdrop of alien invasion. I wondered: Shouldn’t any movie that prominently features squishy little pink slug creatures have a punchier name than this?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An hour and 45 minutes later, I realized the title was, in fact, perfect. (Those who’ve already read the \u003ca href=\"https://www.goodreads.com/en/book/show/33281801\">M.T. Anderson novel\u003c/a> it’s based on might agree.) This movie doesn’t just do the thing you think it’s going to. It slowly and steadily bombards you with analogies — about gentrification, racism, colonialism, education, othering, moral compromises, information filtering — until you thoroughly realize what the invisible hand in the title is. And no, it has nothing to do with aliens.\u003c/p>\n\u003cp>The story begins as aspiring artist Adam (the wonderful Asante Blackk, best known for his role in \u003cem>This is Us\u003c/em>) connects with a new girl at his school, Chloe (Kylie Rogers), who has a fondness for scavenging in junkyards. The two share an easy rapport and a similarly frustrated-but-reconciled approach to the fact that alien overlords — a group known as the Vuvv — have made the teens’ futures bleak and their family’s lives enormously difficult. The Vuvv, incidentally, live on luxurious islands that hang low in Earth’s airspace, frequently blocking humanity’s view of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13932572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-800x454.png\" alt=\"A pink alien creature, made with CGI, that resembles a slug crossed with a crab.\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM-1536x871.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-2.56.37-PM.png 1858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A member of the Vuvv. Cute, sure, but terribly mean when it comes to money. \u003ccite>(‘Landscape With Invisible Hand.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the two begin to date, Chloe comes up with the idea to broadcast their “courtship” to the Vuvv, a species that reproduces asexually and is fascinated by human romantic relationships — or, at least, 1950s sitcom versions thereof. The Vuvv pay couples for broadcasts of their dating lives according to how popular they are and how many followers they have. Chloe and Adam quickly rake in enough money to buy their families small luxuries like actual meat and vegetables, as opposed to what everyone else on Earth eats now — synthetic food cubes printed by the Vuvv.\u003c/p>\n\u003cp>When cracks start to appear in their relationship, the Vuvv accuse Chloe and Adam of fraud and threaten to force their families into poverty for the next six generations. To avoid this, Chloe, Adam and their respective family members must figure out ways to appease the aliens. Their attempts to do so create a series of absurd but unsettling events that ultimately say more about how humans survive today than how we might endure an imaginary future under occupying aliens.\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/lAD81wjRnL8'\n title='//www.youtube.com/embed/lAD81wjRnL8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Landscape With Invisible Hand\u003c/em> is dense with commentary on just about all of the terrible things humans do — to each other and ourselves — because of money, social class and status. A nice touch in this tale is the fact that the Vuvv were actively welcomed by the human race, enticed by the promise of better technology and easier lives. It’s an entirely plausible premise that highlights our shortsighted nature beautifully.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps, too, that the cast of \u003cem>Landscape With Invisible Hand \u003c/em>is brilliant across the board. Tiffany Haddish, as Adam’s industrious mother, brings a realistic grounding to proceedings even as her storyline veers into particularly bizarre territory. As Chloe’s father, \u003cem>The Walking Dead\u003c/em>‘s Josh Hamilton is the ideal combination of snide and desperate as his place in the world prompts his ever-growing resentments to boil over. At the center of it all, Blackk and Rogers convincingly paint the picture of a love that may have had real potential if not for being interrupted by the pressures of financial destitution.\u003c/p>\n\u003cp>You’ll come out of \u003cem>Landscape With Invisible Hand\u003c/em> wholly entertained, but not a little queasy. With the exception of \u003cem>Sorry to Bother You\u003c/em>, it’s hard to think of another movie that so thoroughly explores the perniciousness of late-stage capitalism with such verve and humor. It’ll leave you questioning the very fabric upon which our modern world is built.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Landscape With Invisible Hand’ is released nationwide on Aug. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "castro-theatre-film-festivals-rental-costs",
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"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jamie Lee Curtis’ Graphic Novel Shows How ‘We’re Blowing It With Mother Nature’",
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"content": "\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>[aside postid='arts_13930279']But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13926136']“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>[aside postid='arts_13920759']“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\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=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg\" alt=\"A comic book cover featuring an illustration of a teenage girl wearing jeans, green t-shirt and flannel shirt around her waist. Her eyes are glowing yellow and dark clouds and lightning swirl around her.\" width=\"800\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1012x1536.jpg 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-1920x2913.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/mother_nature_cv_custom-e4e5e088365dc0359b08f2f8343a5d1785584fae-1-scaled.jpg 1687w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother Nature.’ \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oscar-winning actor Jamie Lee Curtis has made a separate career for herself as an author. Her bestselling books for children encourage them to be silly, be patient and like themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But her new graphic novel, \u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">\u003cem>Mother Nature\u003c/em>\u003c/a>, is more in line with the horror movies for which she’s known.\u003c/p>\n\u003cp>The scream queen co-wrote an “eco-horror” screenplay, which \u003cem>New Yorker\u003c/em> illustrator \u003ca href=\"https://www.chroniclebooks.com/products/penny\">Karl Stevens\u003c/a> adapted into a graphic novel for Titan Comics.\u003c/p>\n\u003cp>“I went through a lot of cadmium red,” he told fans during a panel at the recent Comic-Con in San Diego.\u003c/p>\n\u003cp>“Because there’s a lot of blood,” added Curtis. “There will be blood in this book.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story is set in New Mexico, where an energy corporation is fracking under land leased from a Native American woman. Her daughter Nova tries to sabotage the project and is struck by lightning. Nova then becomes the spirit of Mother Nature, who takes revenge for being destroyed.\u003c/p>\n\u003cp>“I had an idea of every gruesome way that Mother Nature could kill people,” Curtis said. “You know, black ice, storms, tornadoes, burning them up with extreme heat. Hailstones to the head. What a way to go.” It isn’t nice to mess with Mother Nature; In one key scene, an earthquake shakes loose the head of an oil drill, killing Nova’s father, who worked for the energy company.\u003c/p>\n\u003cfigure id=\"attachment_13932861\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png\" alt=\"A series of illustrated panels depicting a man slowly walking across an oil field. He glances tentatively over his shoulder at two waiting vehicles. Inside one, a man and a woman wait and watch.\" width=\"790\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-09-at-10.58.28-AM-768x1155.png 768w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Mother Nature about to strike… \u003ccite>(Titan Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curtis says the climate crisis motivated her to write such a story. “The inspiration is terror. The inspiration is fear that we are heading into a very, very dangerous place.”\u003c/p>\n\u003cp>Over the years, Curtis says she’s been involved with the Natural Resources Defense Council, an environmental advocacy group. But she first imagined this story when she was 19, just as she began acting, following the footsteps of her famous Hollywood parents Janet Leigh and Tony Curtis. She says she was influenced by 1970’s disaster movies \u003ca href=\"https://www.youtube.com/watch?v=nyTqrtZFWeQ\">\u003cem>The Towering Inferno\u003c/em>\u003c/a> and \u003ca href=\"https://www.google.com/search?rlz=1C1GCEA_enUS849US849&sxsrf=AB5stBjk2_d47X_mP5O2gq_oqpRt9nTIoA:1691531492111&q=the+poseidon+adventure&tbm=vid&source=lnms&sa=X&sqi=2&ved=2ahUKEwi7qdrthc6AAxWaMlkFHac5CmkQ0pQJegQIDRAB&biw=2732&bih=1250&dpr=0.5#fpstate=ive&vld=cid:bc36fa4d,vid:H_5w-WmSdz0\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was aware of the raping of the land. I was aware of the drilling and the blasting and the stealing of these natural resources. And I just had this idea in my head. I said, ‘I’m going to write a movie about how we’re blowing it with Mother Nature.’ I just knew it,” Curtis told NPR in an interview before the panel.. “It stuck with me so that in 2018, when I made the \u003cem>Halloween\u003c/em> movie and got reinvigorated to the process of making movies, I decided to write a screenplay.”\u003c/p>\n\u003cp>She teamed up with \u003ca href=\"https://www.imdb.com/name/nm4405314/\">Russell Goldman\u003c/a>, who was her assistant on the \u003cem>Halloween\u003c/em> films. She says his great contribution to the screenplay was to make it about women.\u003c/p>\n\u003cp>“Women are cool,” he says.\u003c/p>\n\u003cp>And Curtis agrees. “Women \u003cem>are\u003c/em> cool. You heard it here on NPR.”\u003c/p>\n\u003cp>\u003cem>Mother Nature\u003c/em> centers on two pairs of mothers and daughters. “It’s a story about the decisions that one generation is making in leaving a planet behind for the next,” Goldman says.\u003c/p>\n\u003cfigure id=\"attachment_13932846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg\" alt=\"A white woman with cropped grey hair and silver rimmed glasses stands with two white men. All three hold up a comic book titled 'Mother Nature.' All are half-smiling.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395-1536x946.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/jamie-lee_custom-b26b646a450213a9d0a0ac4075445c6f36f8d1e9-scaled-e1691604276395.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Lee Curtis, Russell Goldman and Karl Stevens — co-creators of the new graphic novel ‘Mother Nature’ — at Comic-Con San Diego. \u003ccite>(Mandalit del Barco/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story’s main mother and daughter are Navajo. Goldman researched the culture, and he collaborated on the script with several Native American consultants, including author and filmmaker Brian Lee Young.\u003c/p>\n\u003cp>Young (who is also the author of a new book, \u003ca href=\"https://brianlyoung.com/books/\">\u003cem>Heroes of the Water Monster\u003c/em>\u003c/a>) says he helped Goldman, Curtis and Stevens incorporate elements of traditional Diné folklore depicting retaliating natural forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This is the first time that I’ve seen the Navajo culture portrayed in a respectful way,” Young says. He says the story also shows “that we have the power to reverse the dangers that climate change enacts on all our communities,” says Young. “I hope everyone gets to read it. It’s a lot of fun, especially as a horror fan.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/jamieleecurtis/status/1687929015615852544\">Curtis is currently on strike\u003c/a> against the Hollywood studios as a member of the union SAG-AFTRA. But at Comic-Con, Curtis told her enthusiastic fans they might make \u003cem>Mother Nature\u003c/em> into a movie someday.\u003c/p>\n\u003cp>“That would be fun. Maybe I’ll direct it. Maybe I’ll co-direct. Maybe I’ll be in it. Maybe I’ll do all of it,” she said to many cheers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know what? I’m 65 years old this November, and I have no time to waste. None.”\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=Jamie+Lee+Curtis%27+graphic+novel+shows+how+%27We%27re+blowing+it+with+Mother+Nature%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Gripping View of Life in San Francisco’s SROs",
"headTitle": "A Gripping View of Life in San Francisco’s SROs | KQED",
"content": "\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>[aside postid='forum_2010101889042']“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dicNcmt10DU\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Before coming here from China, I thought that American homes were large, beautiful and luxurious, from the television,” says Christina, a mother who’s newly single after leaving her abusive husband.\u003c/p>\n\u003cp>She’s crouched on the floor, helping her young daughter get dressed for the day inside their single-room home in San Francisco’s Chinatown. In the 80-square-foot room, piles of folded clothes crowd against a mattress, jammed next to a shelf stacked with toys, boxes, a cooking pot. The bathroom is shared, down the hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Had I known the living conditions here,” she says in Cantonese, “I wouldn’t have decided to come to the U.S.”\u003c/p>\n\u003cp>Christina and her daughter are just two of the more than 20,000 people who currently live in San Francisco’s single-room occupancy hotels, commonly referred to as SROs. Theirs is one of five households at the heart of \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Home Is a Hotel\u003c/em>\u003c/a>, a poignant, powerful documentary about SRO residents from Bay Area filmmaker Kevin Duncan Wong, with co-directors/producers Kar Yin Tham and Todd Sills. Following the film’s premiere at the San Francisco International Film Festival — where it won both the juried Documentary Feature Award and the Audience Award — it makes its non-festival debut at the \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Roxie Theater on Aug. 17. \u003c/a>A second screening at the Roxie is scheduled for \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Aug. 28\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13932822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg\" alt=\"a Black woman with braids combs her toddler son's hair\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__28_127804-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jacque and her son Zallah at home. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shot in and around its subjects’ living spaces in Chinatown, the Mission and the Tenderloin, the character-driven documentary is predicated on a deep, obvious trust between the filmmakers and their housing-insecure subjects. That’s the result, says Wong, of shooting over more than five years.\u003c/p>\n\u003cp>“Part of the challenge, the reason a film like this is hard to make, is it really does require that you spend years getting to know folks and them getting to know you,” says Wong. “You can’t make this kind of film if you’re just parachuting in.”\u003c/p>\n\u003cp>While the viewer gets a basic history of SROs in San Francisco via title cards — they were first introduced here in the ’80s, intended as a temporary way to get people off the street while their names sat on affordable housing waitlists — the filmmakers otherwise let the documentary’s subjects narrate their own stories. Which is smart, because the people in \u003cem>Home Is a Hotel\u003c/em> are compelling, complicated, endearing, tragic, funny and relatable, despite having been dealt some incredibly rough hands.\u003c/p>\n\u003cfigure id=\"attachment_13932823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg\" alt=\"three white people sit on the floor of a small room with a dog\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HIAH_ProRes422_230209__8_100444-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sunbear and Amy with their son Marley inside their SRO. \u003ccite>(Courtesy of 'Home Is a Hotel')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Jacque, who’s balancing a job and raising a toddler son while searching the city for her older daughter, a teenager who has run away from her foster home. Sylvester, a soft-spoken painter with PTSD, is under house arrest as he awaits a trial for killing a neighbor in self-defense. Esther is an elderly, blind librettist who’s facing eviction. Sunbear and Amy, a former couple in recovery, are trying to do right by their 6-year-old while staying sober, and dealing with a microwave so riddled with cockroaches it’s unusable — not to mention sharing an 80-square-foot home with an ex.\u003c/p>\n\u003cp>“In some ways the entire purpose of the film is about being able to cut through certain things and really reach people at an emotional level,” says Tham, of the filmmakers’ light touch. The severe lack of affordable housing isn’t a political talking point here; it’s the reason a kid is going to school with bedbug bites on his arms.\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/dicNcmt10DU'\n title='//www.youtube.com/embed/dicNcmt10DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIn between these intimate, often painful stories, tenderly framed shots of San Francisco provide a moment for the viewer to take a breath — as well as commentary on the staggering inequality that’s come to characterize the city over the last decade. “I really wanted the film to feel like what it feels like to be in San Francisco,” says Wong.\u003c/p>\n\u003cp>That means showing both the beauty and the blight: The city skyline glowing under golden hour sunlight. People dining inside a high-end restaurant while others sleep on the sidewalk outside. Jacque, who is Black, walking the neighborhood with “missing” signs for her daughter, whom she believes is with a child abuser and drug dealer, and noting that “the police don’t seem to give a shit.” Moments later, news blares from a bar TV, reporting that the reward for a missing white woman at the University of Iowa has climbed to $172,000.\u003c/p>\n\u003cp>By the film’s end — again, the narratives span five years — some of the subjects have finally gotten off the Section 8 housing waitlist and into their own homes, modest spaces that feel palatial and triumphant to the viewer after even an hour of watching scenes in SROs. Other subjects are more or less right where we left them. And everyone’s lives have been permanently altered by the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13932828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg\" alt=\"four people on a stage at a film festival in front of a packed theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Armstrong_Wong_Tham_Sills_byTommyLau_01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Kevin Duncan Wong, Kar Yin Tham and Todd Sills spoke with Rod Armstrong, SFFILM’s associate director of programming, at the film festival in April. ‘Home Is a Hotel’ won both the Documentary Feature Award and the Audience Award. \u003ccite>(Tommy Lau, courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They have also been altered in a positive way, the filmmakers hope, by participating in the documentary. Most of the subjects attended the SFFILM premiere in April, and they seemed “touched, and shocked in a good way” by the rapturous applause, says Wong.\u003c/p>\n\u003cp>“Part of the point [of the film] is that this is a population that isn’t listened to very often,” says the director. “So that was probably the most meaningful thing for us, was them being able to feel the audience response, and see how people were responding to their stories.”\u003c/p>\n\u003cp>“It actually gave me more optimism around San Francisco and where we’re headed,” adds Tham. “Because it felt like people really got it, and maybe they left thinking ‘We can do better.’ We can be a different kind of city, you know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">‘\u003c/span>Home Is a Hotel\u003cspan style=\"font-weight: 400\">’\u003c/span> screens at 6:30 p.m. on Aug. 17 at the Roxie Theater in San Francisco\u003c/em>. \u003cem>The filmmakers and some documentary participants will be in attendance for a post-screening Q&A. A second screening is scheduled for 6:30 p.m. on Aug. 28. \u003ca href=\"https://roxie.com/film/home-is-a-hotel/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The first hour leans heavily into the brand mythologizing as it sets everything up and it is dreadful. It’s almost in spite of everything that the second half, which focuses on the actual racing, is more successful. How could it not be? It’s a very pleasing underdog-makes-good journey, with a very pleasant and empathetic lead actor in Archie Madekwe. His parents, played by Djimon Hounsou and former Spice Girl Geri Halliwell-Horner, are also appealing, if underused and trotted out only for maximum emotional impact. We could have used a little more of the Mardenborough clan and a little less of Jann’s love interest, Audrey (Maeve Courtier-Lilley) who is introduced to another peripheral female character in a 5-second scene that is so out of nowhere and random that I wondered if it was only there so that the very male film could technically pass the Bechdel Test.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Poor Orlando Bloom gets a little lost in everything as the high-anxiety Nissan marketing executive Danny Moore, who is frustratingly underdrawn and who the movie goes through great pains to avoid making the enemy. That goes to the cocky, model-y young driver who is there to represent the big money side of European racing, in his gold car branded by Moët & Chandon. Instead, Bloom is kind of just a tour guide to the high life, uttering lines like “Ever been on a private jet before?” to the kid from Cardiff. But most egregious is the depiction of the Japanese Nissan executives, who are essentially nameless, characterless background actors in suits called on to either nod or look vaguely confused as Danny tries to reassure them that these amateur drivers won’t die.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie on the page wants to romanticize the simple pleasures of race car driving outside of the glitz and glamour of the high-rolling industry, and has been directed by someone who doesn’t actually believe that the driving is enough and that it does need all the trimmings of a \u003cem>Fast and Furious\u003c/em> spinoff to make it exciting to an audience. It’s the MTV cut of Winona Ryder’s documentary from \u003cem>Reality Bites\u003c/em>, the one the slick marketing guy would make. And I think therein lies the essential incongruity of what amounts to a moderately entertaining, very long Super Bowl spot quality commercial for PlayStation and Nissan.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>William Friedkin, the Oscar winning director who became a top filmmaker in his 30s with the gripping \u003cem>The French Connection\u003c/em> and the horrifying \u003cem>The Exorcist\u003c/em> has died. He was 87.\u003c/p>\n\u003cp>Friedkin, who won the best director Oscar for \u003cem>The French Connection\u003c/em>, died Monday in Los Angeles, a representative from his office told The Associated Press. His wife, former studio head Sherry Lansing also confirmed to The Hollywood Reporter.\u003c/p>\n\u003cp>The movie, based on a true story, deals with the efforts of maverick New York City police Detective James “Popeye” Doyle to track down Frenchman Fernando Rey, mastermind of a large drug pipeline funneling heroin into the United States. It contains one of the most thrilling chase scenes ever filmed.\u003c/p>\n\u003cp>The movie also won Academy Awards for best picture, screenplay and film editing and led critics to hail Friedkin, then just 32, as a leading member of a new generation of filmmakers.\u003c/p>\n\u003cp>He followed with an even bigger blockbuster, \u003cem>The Exorcist\u003c/em>, based on William Peter Blatty’s best-selling novel about a 12-year-old girl possessed by the devil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The harrowing scenes of the girl’s possession and a splendid cast, including Linda Blair as the girl, Ellen Burstyn as her mother and Max Von Sydow and Jason Miller as the priests who try to exorcise the devil from her, helped make the film a box-office sensation. It was so scary for its era that many viewers fled the theater before it was over and some reported being unable to sleep for days afterward.\u003c/p>\n\u003cp>It received 10 Oscar nominations, including one for Friedkin as director, and won two, for Blatty’s script and for sound.\u003c/p>\n\u003cp>With that second success, Friedkin would go on to direct movies and TV shows well into the 21st century. But he would never again come close to matching the success of those early works.\u003c/p>\n\u003cp>Other film credits included \u003cem>To Live and Die in L.A.\u003c/em>, \u003cem>Cruising\u003c/em>, \u003cem>Rules of Engagement\u003c/em> and a TV remake of the classic play and Sidney Lumet movie \u003cem>12 Angry Men\u003c/em>. Friedkin also directed episodes for such TV shows as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rebel Highway\u003c/em> and \u003cem>CSI: Crime Scene Investigation\u003c/em>.\u003c/p>\n\u003cp>Born in Chicago on Aug. 29, 1939, he began working in local TV productions as a teenager. By age 16 he was directing live shows.\u003c/p>\n\u003cp>“My main influence was dramatic radio when I was a kid,” he said in a 2001 interview. “I remember listening to it in the dark, Everything was left to the imagination. It was just sound. I think of the sounds first and then the images.”\u003c/p>\n\u003cp>He moved from live shows to documentaries, making \u003cem>The People Versus Paul Crump\u003c/em> in 1962. It was the story of a prison inmate who rehabilitates himself on Death Row after being sentenced for the murder of a guard during a botched robbery at a Chicago food plant.\u003c/p>\n\u003cp>Producer David Wolper was so impressed with it that he brought Friedkin to Hollywood to direct network TV shows.\u003c/p>\n\u003cp>After working on such shows as \u003cem>The Bold Ones\u003c/em>, \u003cem>The Alfred Hitchcock Hour\u003c/em> and the documentary \u003cem>The Thin Blue Line\u003c/em>, Friedkin landed his first film, 1967’s \u003cem>Good Times\u003c/em>. It was a lighthearted musical romp headlined by the pop duo Sonny and Cher in what would be their only movie appearance together.\u003c/p>\n\u003cp>He followed that with \u003cem>The Night They Raided Minsky’s\u003c/em>, about backstage life at a burlesque theater, and \u003cem>The Birthday Party\u003c/em>, from a Harold Pinter play. He then gained critical attention with 1970’s \u003cem>The Boys in the Band\u003c/em>, a landmark film about gay men.\u003c/p>\n\u003cp>Friedkin had three brief marriages in the 1970s and ’80s, to French actress Jeanne Moreau; British actress Lesley-Anne Down, with whom he had a son; and longtime Los Angeles TV news anchor Kelly Lange.\u003c/p>\n\u003cp>In 1991 he married Paramount studio executive Sherry Lansing.\u003c/p>\n\u003cp>Friedkin has a new film on the way, \u003cem>The Caine Mutiny Court-Martial\u003c/em>, starring Kiefer Sutherland that’s set to premiere at the Venice Film Festival next month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The late Associated Press Correspondent Bob Thomas was the primary writer of this obituary.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Passion and Love Get Messy in Ira Sachs’ Smoldering ‘Passages’",
"headTitle": "Passion and Love Get Messy in Ira Sachs’ Smoldering ‘Passages’ | KQED",
"content": "\u003cp>If you’ve been wondering where all the sex has gone from the movies, you’re in luck: The new film \u003cem>Passages\u003c/em> does not hold back in depicting the fresh passion of a love affair.\u003c/p>\n\u003cp>But \u003cem>Passages\u003c/em> should really come with a warning, and not because of its realistic illustrations of queer and heterosexual intimacy, which got the film slapped with an NC-17 rating. (Its distributor, MUBI, opted instead to release it in theaters as unrated.) No, \u003cem>Passages\u003c/em> should come with a warning for its brutal honesty about the intoxicating haze of a new relationship and all its casualties.\u003c/p>\n\u003cp>[aside postid='arts_13932204']At least it’s fun and dangerous at the start (aren’t they all, though). Directed by Ira Sachs, working again with his co-writer Mauricio Zacharias, \u003cem>Passages\u003c/em> is centered on Tomas (Franz Rogowski), a German living in France with his English husband Martin (Ben Whishaw), who begins an affair with a French woman, Agathe (Adèle Exarchopoulos).\u003c/p>\n\u003cp>Tomas is a film director. We’re introduced to him micromanaging actors in a scene. He does not seem to be the kind who might resort to yelling at or berating those around him, but his insistence on controlling things and having them exactly how he wants them to be is not insignificant.\u003c/p>\n\u003cp>Like many directors before him, Tomas carries these expectations with him into his real life and relationships. At the wrap party, Martin doesn’t feel like dancing with Tomas, but Agathe, fresh out of her own relationship does. Later that night, they end up in bed and Tomas bikes home the next day to tell his husband how exciting it was to sleep with a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hvZmaePBSRw\u003c/p>\n\u003cp>\u003cem>Passages\u003c/em>, many have noted, has a very European sensibility despite being directed by an American. Gender preferences aren’t etched in stone (nor do they require any discussion or explanation). Fidelity and monogamy aren’t the biggest deal. Wine isn’t just for the evening. And mesh shirts and crop tops aren’t just for the club (shoutout to Khadija Zeggaï’s vibrant, edgy costume design).\u003c/p>\n\u003cp>But even the most enlightened of young people still have feelings that can get hurt, despite their intellectual rejection of traditional social mores. Later in the film, Tomas sits down for an excruciatingly awkward dinner with Agathe’s parents who ask him about his intentions with their daughter and his plans.\u003c/p>\n\u003cp>[aside postid='arts_13931951']Tomas is immediately defensive and hostile to the line of questioning. And while you can see both sides, as in many instances in \u003cem>Passages\u003c/em>, Tomas comes off the worst. He’s so consumed with his own needs and pursuits that he can’t for a moment step outside of himself into anyone else’s shoes. When rejection comes from one place, he’s learned he can find quick solace elsewhere. Is he knowingly manipulative or just following his heart at all costs or some bewildering combination of the two? That is up to the viewer to decide, but the wreckage he leaves in his wake is real.\u003c/p>\n\u003cp>The trio of actors are wonderfully chaotic and all empathetic in their own way. But Whishaw is particularly excellent as one of the poor souls swept up in Tomas’ cyclone. Martin is on his own journey of discovery, learning for himself what he’s willing to tolerate in the name of love and when too much is just too much. Agathe is a bit more underdrawn which can be frustrating — she’s sometimes more object and foil than actual character. In one of the few scenes she’s depicted without Tomas, she’s being grilled by her young students about her dating life. But Exarchopoulos still brings depth and substance that may not be on the page.\u003c/p>\n\u003cp>Some have likened \u003cem>Passages\u003c/em> to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with \u003ca href=\"https://www.kqed.org/arts/13931951\">Christian Petzold’s \u003cem>Afire\u003c/em>\u003c/a>. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.\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>‘Passages’ is released nationwide on Aug. 4, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been wondering where all the sex has gone from the movies, you’re in luck: The new film \u003cem>Passages\u003c/em> does not hold back in depicting the fresh passion of a love affair.\u003c/p>\n\u003cp>But \u003cem>Passages\u003c/em> should really come with a warning, and not because of its realistic illustrations of queer and heterosexual intimacy, which got the film slapped with an NC-17 rating. (Its distributor, MUBI, opted instead to release it in theaters as unrated.) No, \u003cem>Passages\u003c/em> should come with a warning for its brutal honesty about the intoxicating haze of a new relationship and all its casualties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At least it’s fun and dangerous at the start (aren’t they all, though). Directed by Ira Sachs, working again with his co-writer Mauricio Zacharias, \u003cem>Passages\u003c/em> is centered on Tomas (Franz Rogowski), a German living in France with his English husband Martin (Ben Whishaw), who begins an affair with a French woman, Agathe (Adèle Exarchopoulos).\u003c/p>\n\u003cp>Tomas is a film director. We’re introduced to him micromanaging actors in a scene. He does not seem to be the kind who might resort to yelling at or berating those around him, but his insistence on controlling things and having them exactly how he wants them to be is not insignificant.\u003c/p>\n\u003cp>Like many directors before him, Tomas carries these expectations with him into his real life and relationships. At the wrap party, Martin doesn’t feel like dancing with Tomas, but Agathe, fresh out of her own relationship does. Later that night, they end up in bed and Tomas bikes home the next day to tell his husband how exciting it was to sleep with a woman.\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/hvZmaePBSRw'\n title='//www.youtube.com/embed/hvZmaePBSRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Passages\u003c/em>, many have noted, has a very European sensibility despite being directed by an American. Gender preferences aren’t etched in stone (nor do they require any discussion or explanation). Fidelity and monogamy aren’t the biggest deal. Wine isn’t just for the evening. And mesh shirts and crop tops aren’t just for the club (shoutout to Khadija Zeggaï’s vibrant, edgy costume design).\u003c/p>\n\u003cp>But even the most enlightened of young people still have feelings that can get hurt, despite their intellectual rejection of traditional social mores. Later in the film, Tomas sits down for an excruciatingly awkward dinner with Agathe’s parents who ask him about his intentions with their daughter and his plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tomas is immediately defensive and hostile to the line of questioning. And while you can see both sides, as in many instances in \u003cem>Passages\u003c/em>, Tomas comes off the worst. He’s so consumed with his own needs and pursuits that he can’t for a moment step outside of himself into anyone else’s shoes. When rejection comes from one place, he’s learned he can find quick solace elsewhere. Is he knowingly manipulative or just following his heart at all costs or some bewildering combination of the two? That is up to the viewer to decide, but the wreckage he leaves in his wake is real.\u003c/p>\n\u003cp>The trio of actors are wonderfully chaotic and all empathetic in their own way. But Whishaw is particularly excellent as one of the poor souls swept up in Tomas’ cyclone. Martin is on his own journey of discovery, learning for himself what he’s willing to tolerate in the name of love and when too much is just too much. Agathe is a bit more underdrawn which can be frustrating — she’s sometimes more object and foil than actual character. In one of the few scenes she’s depicted without Tomas, she’s being grilled by her young students about her dating life. But Exarchopoulos still brings depth and substance that may not be on the page.\u003c/p>\n\u003cp>Some have likened \u003cem>Passages\u003c/em> to a horror movie (though aren’t all coming of age movies horrors in some way?) Regardless, it would make a fitting double feature with \u003ca href=\"https://www.kqed.org/arts/13931951\">Christian Petzold’s \u003cem>Afire\u003c/em>\u003c/a>. They are both films that let you dabble in the feeling of having had a semester abroad, tumultuous feelings and all, without all the actual emotional fallout or jetlag.\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>‘Passages’ is released nationwide on Aug. 4, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Powerful, Stylized ‘Kokomo City’ Allows Trans Sex Workers to Strut",
"headTitle": "Powerful, Stylized ‘Kokomo City’ Allows Trans Sex Workers to Strut | KQED",
"content": "\u003cp>A bold, blistering and beautiful work of Black affirmation, D. Smith’s \u003cem>Kokomo City\u003c/em> does not fit neatly into any of the conventional boxes of documentary. By turns curious and angry, and clear and confounding, the film ultimately lands as a statement of defiance. If \u003cem>Kokomo City\u003c/em> begins (like most films) as an invitation, it is not intended for everybody.\u003c/p>\n\u003cp>[aside postid='arts_13928870']The filmmaker assembles the candid, addressed-directly-to-the-camera testimonies of four Black trans sex workers — Daniella Carter (Queens), Dominique Silver (Manhattan), Koko Da Doll (Atlanta) and Liyah Mitchell (Decatur, Georgia) — interspersed with the musings of a handful of men who are attracted to trans women. Smith plainly encouraged her subjects to talk about whatever they wanted, which propels the film far beyond descriptions of how the subjects got into sex work, the threats to life and limb, and their hard-earned perspectives on money, clients, body image and relationships.\u003c/p>\n\u003cp>While some of those experiences and insights might be universal among sex workers, the most compelling comments pertain specifically to being trans. “We’re meeting guy after guy who’s in denial after denial,” Daniella Carter says. “In no way are they there to protect us. They’re there to exploit us, to fetishize us.”\u003c/p>\n\u003cfigure id=\"attachment_13932622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1-800x450.jpg\" alt=\"a black and white photo of a Black woman in a sleeping camp, looking skeptically up and away from the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniella Carter in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The loathing and fear that most trans people (including sex workers) encounter is something of a recurring theme in \u003cem>Kokomo City\u003c/em>. Now consider that the film was shot \u003cem>before\u003c/em> the current wave of irrational transphobia ginned up by Republican politicians, pseudo-religious fanatics and right-wing media, and this comment by a young man named Inw Tarxan (straight-talking with his friend Lexx Pharoah in a car) rings out: “When you’re young, that’s what you’re going to do: You’re going to hate who the people that love you tell you to hate.”\u003c/p>\n\u003cp>D. Smith was blindsided by a devastating form of that prejudice. A rising music producer (Lil Wayne’s \u003cem>Tha Carter III\u003c/em>, among other credits), she came out as transgender in 2014. Overnight, seemingly, her calls weren’t returned and her career evaporated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It took me years to think about the fact that people around me loved D. Smith the guy, they trusted that person — literally one day I was wearing jeans and Timberlands and a trucker hat, and the next day I was wearing blue eyeshadow and heels,” she told \u003cem>The Guardian\u003c/em> (UK) in a recent interview. “I didn’t give people a heads up, and you don’t owe anybody an explanation of who you are, but at the same time, how do you realistically expect people to completely accept you [straight away]? That’s actually not fair.”\u003c/p>\n\u003cfigure id=\"attachment_13932626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1-800x1067.jpg\" alt=\"a Black woman in a black tank top with curly blonde hair looks defiantly at the camera\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">D. Smith, director of ‘Kokomo City,’ said her music career evaporated after she came out as transgender. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s successful transition to filmmaking — \u003cem>Kokomo City\u003c/em> received the Innovator and Audience awards in Sundance’s NEXT section and the Teddy for Best Documentary/Essay Film along with the Panorama Audience Award at the Berlin International Film Festival — is a triumph of style hand-in-glove with substance. Shot in luxuriously decadent black-and-white and studded with aggressive music cues (such as slide guitarist Kokomo Arnold’s 1934 “\u003ca href=\"https://www.youtube.com/watch?v=VuRO8qJl51s\" target=\"_blank\" rel=\"noopener\">Sissy Man Blues\u003c/a>”), \u003cem>Kokomo City\u003c/em> is a visual and sonic delight.\u003c/p>\n\u003cp>The film’s aesthetic serves two purposes. From the outset, it demolishes the pro forma expectations of the social-issue documentary. We aren’t here to be educated and informed, nor to be immersed in the street grit of a largely out-of-sight social problem.\u003c/p>\n\u003cp>Secondly, the stylized blend of interviews, staged scenes and reenactments provides the quartet of protagonists with a heightened level of personal expression. Smith allows them to be glamorous without diminishing their power or anger. The overall effect is that we never tire of seeing and hearing Daniella, Dominique, Koko or Liyah.\u003c/p>\n\u003cfigure id=\"attachment_13932627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5-800x450.jpg\" alt=\"a black and white photo of a Black woman with a headscarf on, laying down looking upward at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Liyah Mitchell in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that said, \u003cem>Kokomo City\u003c/em> doesn’t aspire to be a crossover film — that is, to raise the consciousness of mainstream, cisgender Americans about trans people (or sex workers, for that matter). It is painfully, powerfully profound about the Black American experience, however, thanks to the unique perspective of Black trans sex workers. Sex is often about power, which gives Dominique, et al their terrific insights.\u003c/p>\n\u003cp>The most unexpected and cutting observation is provided by the brilliant, bracing Daniella Carter, who acknowledges the pain they unwittingly caused their mother when they came out as trans.\u003c/p>\n\u003cp>“That has to hurt, as a Black woman hurt by Black men, then give birth to a Black man, and he says, ‘I’m not here to protect you, I’m here to be in some ways just as vulnerable as you,’” Carter bravely confides in us. “I think that’s hard for a lot of Black women to accept.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Kokomo City’ opens \u003ca href=\"https://roxie.com/film/kokomo-city/\" target=\"_blank\" rel=\"noopener\">Friday, Aug. 4 at the Roxie Theater\u003c/a> in San Francisco. Gallerist Jonathan Carver Moore will moderate an opening night Q&A with Breonna McCree, executive director of the Transgender District, and Honey Mahogany, chair of the San Francisco Democratic Party. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The film also screens \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\" target=\"_blank\" rel=\"noopener\">Aug. 7 and 8 a\u003c/a>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\">t the Four Star Theater in San Francisco\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "D. Smith's debut feature is a beautiful, blistering work of Black affirmation that defies documentary conventions.",
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"description": "D. Smith's debut feature is a beautiful, blistering work of Black affirmation that defies documentary conventions.",
"title": "Powerful, Stylized ‘Kokomo City’ Allows Trans Sex Workers to Strut | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A bold, blistering and beautiful work of Black affirmation, D. Smith’s \u003cem>Kokomo City\u003c/em> does not fit neatly into any of the conventional boxes of documentary. By turns curious and angry, and clear and confounding, the film ultimately lands as a statement of defiance. If \u003cem>Kokomo City\u003c/em> begins (like most films) as an invitation, it is not intended for everybody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The filmmaker assembles the candid, addressed-directly-to-the-camera testimonies of four Black trans sex workers — Daniella Carter (Queens), Dominique Silver (Manhattan), Koko Da Doll (Atlanta) and Liyah Mitchell (Decatur, Georgia) — interspersed with the musings of a handful of men who are attracted to trans women. Smith plainly encouraged her subjects to talk about whatever they wanted, which propels the film far beyond descriptions of how the subjects got into sex work, the threats to life and limb, and their hard-earned perspectives on money, clients, body image and relationships.\u003c/p>\n\u003cp>While some of those experiences and insights might be universal among sex workers, the most compelling comments pertain specifically to being trans. “We’re meeting guy after guy who’s in denial after denial,” Daniella Carter says. “In no way are they there to protect us. They’re there to exploit us, to fetishize us.”\u003c/p>\n\u003cfigure id=\"attachment_13932622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/2-1-800x450.jpg\" alt=\"a black and white photo of a Black woman in a sleeping camp, looking skeptically up and away from the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/2-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniella Carter in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The loathing and fear that most trans people (including sex workers) encounter is something of a recurring theme in \u003cem>Kokomo City\u003c/em>. Now consider that the film was shot \u003cem>before\u003c/em> the current wave of irrational transphobia ginned up by Republican politicians, pseudo-religious fanatics and right-wing media, and this comment by a young man named Inw Tarxan (straight-talking with his friend Lexx Pharoah in a car) rings out: “When you’re young, that’s what you’re going to do: You’re going to hate who the people that love you tell you to hate.”\u003c/p>\n\u003cp>D. Smith was blindsided by a devastating form of that prejudice. A rising music producer (Lil Wayne’s \u003cem>Tha Carter III\u003c/em>, among other credits), she came out as transgender in 2014. Overnight, seemingly, her calls weren’t returned and her career evaporated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It took me years to think about the fact that people around me loved D. Smith the guy, they trusted that person — literally one day I was wearing jeans and Timberlands and a trucker hat, and the next day I was wearing blue eyeshadow and heels,” she told \u003cem>The Guardian\u003c/em> (UK) in a recent interview. “I didn’t give people a heads up, and you don’t owe anybody an explanation of who you are, but at the same time, how do you realistically expect people to completely accept you [straight away]? That’s actually not fair.”\u003c/p>\n\u003cfigure id=\"attachment_13932626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/6-1-800x1067.jpg\" alt=\"a Black woman in a black tank top with curly blonde hair looks defiantly at the camera\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/6-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">D. Smith, director of ‘Kokomo City,’ said her music career evaporated after she came out as transgender. \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s successful transition to filmmaking — \u003cem>Kokomo City\u003c/em> received the Innovator and Audience awards in Sundance’s NEXT section and the Teddy for Best Documentary/Essay Film along with the Panorama Audience Award at the Berlin International Film Festival — is a triumph of style hand-in-glove with substance. Shot in luxuriously decadent black-and-white and studded with aggressive music cues (such as slide guitarist Kokomo Arnold’s 1934 “\u003ca href=\"https://www.youtube.com/watch?v=VuRO8qJl51s\" target=\"_blank\" rel=\"noopener\">Sissy Man Blues\u003c/a>”), \u003cem>Kokomo City\u003c/em> is a visual and sonic delight.\u003c/p>\n\u003cp>The film’s aesthetic serves two purposes. From the outset, it demolishes the pro forma expectations of the social-issue documentary. We aren’t here to be educated and informed, nor to be immersed in the street grit of a largely out-of-sight social problem.\u003c/p>\n\u003cp>Secondly, the stylized blend of interviews, staged scenes and reenactments provides the quartet of protagonists with a heightened level of personal expression. Smith allows them to be glamorous without diminishing their power or anger. The overall effect is that we never tire of seeing and hearing Daniella, Dominique, Koko or Liyah.\u003c/p>\n\u003cfigure id=\"attachment_13932627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/5-800x450.jpg\" alt=\"a black and white photo of a Black woman with a headscarf on, laying down looking upward at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Liyah Mitchell in ‘Kokomo City.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that said, \u003cem>Kokomo City\u003c/em> doesn’t aspire to be a crossover film — that is, to raise the consciousness of mainstream, cisgender Americans about trans people (or sex workers, for that matter). It is painfully, powerfully profound about the Black American experience, however, thanks to the unique perspective of Black trans sex workers. Sex is often about power, which gives Dominique, et al their terrific insights.\u003c/p>\n\u003cp>The most unexpected and cutting observation is provided by the brilliant, bracing Daniella Carter, who acknowledges the pain they unwittingly caused their mother when they came out as trans.\u003c/p>\n\u003cp>“That has to hurt, as a Black woman hurt by Black men, then give birth to a Black man, and he says, ‘I’m not here to protect you, I’m here to be in some ways just as vulnerable as you,’” Carter bravely confides in us. “I think that’s hard for a lot of Black women to accept.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Kokomo City’ opens \u003ca href=\"https://roxie.com/film/kokomo-city/\" target=\"_blank\" rel=\"noopener\">Friday, Aug. 4 at the Roxie Theater\u003c/a> in San Francisco. Gallerist Jonathan Carver Moore will moderate an opening night Q&A with Breonna McCree, executive director of the Transgender District, and Honey Mahogany, chair of the San Francisco Democratic Party. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The film also screens \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\" target=\"_blank\" rel=\"noopener\">Aug. 7 and 8 a\u003c/a>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/kokomo-city-500-pm-amp-730-pm\">t the Four Star Theater in San Francisco\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Randall Park’s ‘Shortcomings’ Adaptation Proves Change Is Hard",
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"content": "\u003cp>In comedian and actor Randall Park’s directorial debut \u003cem>Shortcomings\u003c/em> — adapted from Sacramento-born cartoonist Adrian Tomine’s \u003ca href=\"https://drawnandquarterly.com/books/shortcomings/\">2007 graphic novella\u003c/a> of the same name — an eclectic group of Asian American twenty-somethings face and fumble through the inadequacies of their lives, relationships and perspectives. The film’s main protagonist is Ben (Justin Min), a snarky movie theater manager who finds himself at a restless impasse when his longtime girlfriend Miko suddenly leaves their Berkeley home for an internship in New York.\u003c/p>\n\u003cp>Reeling from her departure, Ben continues spending time with his only friend, Alice (Sherry Cola), a queer PhD student, while pursuing new relationships with Autumn (Tavi Gevinson) and Sasha (Debby Ryan). All the while, he wanders past familiar East Bay settings like the cerulean blue exterior of Pegasus Books, the rainbow rounded top of Amoeba Records on Telegraph Avenue and the red brick of the Oakland Cannery.\u003c/p>\n\u003cp>From the start, the film makes it clear that Ben has a fixation on white women — and his ideas about this are contradictory and hypocritical. On Asian women who date white men, he reveals, his voice tinged with disgust: “I just think there’s something kinda creepy about an older white guy who’s horny for skinny Asian girls. I mean, what’s that all about?” But when he is questioned about Asian men who date white women, he declares, without a semblance of self-awareness: “Good for him. Good for both of them. You don’t second-guess that relationship. You’re like, ‘Wow, he must be a really cool guy and she is … really evolved.’”\u003c/p>\n\u003cfigure id=\"attachment_13932613\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg\" alt=\"A man faces another man on a street corner while making a martial arts gesture with hands, a woman stands by with hands up in gesture to stop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Min as Ben, Ally Maki as Miko and Timothy Simons as Leon in ‘Shortcomings.’ \u003ccite>(Photo by Jon Pack; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing this bit of dialogue, my eyes rolled back into their sockets and I was launched back into my third year of college. On a quiet and insignificant afternoon, a close friend told me that Asian women who date white men are subconsciously allowing themselves to be “colonized.” Ben is all-too real, and his on-screen presence exists as a reminder that this misogynistic perspective is more pervasive than imagined.\u003c/p>\n\u003cp>When it comes to the similarities between the comic and adaptation, it seems that Tomine — who also wrote the screenplay — made a concerted effort to add more nuance to the characters than he achieved in his original, 108-page book. In an \u003ca href=\"https://www.youtube.com/watch?v=R4b95hMxJWk&ab_channel=ForReel\">interview\u003c/a> with film critic Thomas Stoneham Judge at this year’s Sundance Film Festival, Tomine described the freedom he allowed himself when approaching the writing for the adaptation. “I think for me it was really important to use the book as inspiration, as a launching pad, but not feel constricted by it,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, this version of Ben feels more human and complex: he is just as kind and sincere as he is condescending and reductive. Paired with Min’s wide emotional acting range, this draft of \u003cem>Shortcomings\u003c/em> makes room for the instability of Ben’s self-loathing — and the ugly ways in which it manifests — while also capturing his potential to change. Tomine addresses the shortcomings of his comic to create a more complete and empathetic portrait of the ways internalized racism impacts a person’s sense of self and their relationships. There is hope, however small, for redemption. In the original novella, there was nearly none.\u003c/p>\n\u003cfigure id=\"attachment_13932611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg\" alt=\"Two women in an apartment stand smiling at man to the right\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sherry Cola as Alice, Sonoya Mizuno as Meredith and Justin Min as Ben in ‘Shortcomings.’ \u003ccite>(Photo by Jon Pack; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other highlights include Cola as Ben’s friend Alice, whose naturalistic performance and presence anchor the film. While some may try to relegate her to the “funny friend” supporting role, she imbues Alice with a level of restraint and avoidance that creates a real sense of history. As a closeted Chinese-Korean American woman, she upholds a facade with her family, introducing Ben as her boyfriend and pursuing an unfulfilling journey in academia. By spinning a false image for her relatives to uphold and believe in, she guarantees they may never truly know her — and she accepts this. Her story contains so much, and I only wish I could have had more of it.\u003c/p>\n\u003cp>Ultimately, \u003cem>Shortcomings\u003c/em> is an easy watch, which is both its strength and its pitfall. While the storyline follows a pretty clear path, some scenes feel forced. Moments aren’t allowed to breathe on their own — it’s as if the film is trying to cushion any sense of discomfort a viewer might, and probably should, be feeling. Romantic background music plays when it shouldn’t, an unnecessary title card signals a new section. The film is strongest without these distractions: when the viewer is allowed to fully slip into the dialogue, mood and environment.\u003c/p>\n\u003cp>At its core, the film is about looking inward to enact change. For much of the plot, Ben’s worth rests on a deluded belief that he is better than certain people while simultaneously projecting his self-loathing onto others. “I’m sure you would’ve hated me anyways,” he tells Meredith, Alice’s new girlfriend.\u003c/p>\n\u003cp>\u003cem>Shortcomings\u003c/em> asks how we move forward despite our failings and the myriad of ways we’ve ruined relationships — with others and with ourselves. When our sense of self is completely shattered, how do we learn to forgive ourselves and change? While it’s unclear if Ben is truly capable of redemption, we as an audience are left with a sense of hope that this breaking point may finally push him to forge a new way forward.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Shortcomings’ opens in theaters nationwide on Friday, Aug. 4.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In Park’s directorial debut, based on Adrian Tomine’s graphic novella, the characters have more nuance, but some scenes feel forced.",
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"description": "In Park’s directorial debut, based on Adrian Tomine’s graphic novella, the characters have more nuance, but some scenes feel forced.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In comedian and actor Randall Park’s directorial debut \u003cem>Shortcomings\u003c/em> — adapted from Sacramento-born cartoonist Adrian Tomine’s \u003ca href=\"https://drawnandquarterly.com/books/shortcomings/\">2007 graphic novella\u003c/a> of the same name — an eclectic group of Asian American twenty-somethings face and fumble through the inadequacies of their lives, relationships and perspectives. The film’s main protagonist is Ben (Justin Min), a snarky movie theater manager who finds himself at a restless impasse when his longtime girlfriend Miko suddenly leaves their Berkeley home for an internship in New York.\u003c/p>\n\u003cp>Reeling from her departure, Ben continues spending time with his only friend, Alice (Sherry Cola), a queer PhD student, while pursuing new relationships with Autumn (Tavi Gevinson) and Sasha (Debby Ryan). All the while, he wanders past familiar East Bay settings like the cerulean blue exterior of Pegasus Books, the rainbow rounded top of Amoeba Records on Telegraph Avenue and the red brick of the Oakland Cannery.\u003c/p>\n\u003cp>From the start, the film makes it clear that Ben has a fixation on white women — and his ideas about this are contradictory and hypocritical. On Asian women who date white men, he reveals, his voice tinged with disgust: “I just think there’s something kinda creepy about an older white guy who’s horny for skinny Asian girls. I mean, what’s that all about?” But when he is questioned about Asian men who date white women, he declares, without a semblance of self-awareness: “Good for him. Good for both of them. You don’t second-guess that relationship. You’re like, ‘Wow, he must be a really cool guy and she is … really evolved.’”\u003c/p>\n\u003cfigure id=\"attachment_13932613\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg\" alt=\"A man faces another man on a street corner while making a martial arts gesture with hands, a woman stands by with hands up in gesture to stop\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/4.Justin-Min-as-Ben-Ally-Maki-as-Miko-Timothy-Simons-as-Leon-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Min as Ben, Ally Maki as Miko and Timothy Simons as Leon in ‘Shortcomings.’ \u003ccite>(Photo by Jon Pack; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hearing this bit of dialogue, my eyes rolled back into their sockets and I was launched back into my third year of college. On a quiet and insignificant afternoon, a close friend told me that Asian women who date white men are subconsciously allowing themselves to be “colonized.” Ben is all-too real, and his on-screen presence exists as a reminder that this misogynistic perspective is more pervasive than imagined.\u003c/p>\n\u003cp>When it comes to the similarities between the comic and adaptation, it seems that Tomine — who also wrote the screenplay — made a concerted effort to add more nuance to the characters than he achieved in his original, 108-page book. In an \u003ca href=\"https://www.youtube.com/watch?v=R4b95hMxJWk&ab_channel=ForReel\">interview\u003c/a> with film critic Thomas Stoneham Judge at this year’s Sundance Film Festival, Tomine described the freedom he allowed himself when approaching the writing for the adaptation. “I think for me it was really important to use the book as inspiration, as a launching pad, but not feel constricted by it,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, this version of Ben feels more human and complex: he is just as kind and sincere as he is condescending and reductive. Paired with Min’s wide emotional acting range, this draft of \u003cem>Shortcomings\u003c/em> makes room for the instability of Ben’s self-loathing — and the ugly ways in which it manifests — while also capturing his potential to change. Tomine addresses the shortcomings of his comic to create a more complete and empathetic portrait of the ways internalized racism impacts a person’s sense of self and their relationships. There is hope, however small, for redemption. In the original novella, there was nearly none.\u003c/p>\n\u003cfigure id=\"attachment_13932611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg\" alt=\"Two women in an apartment stand smiling at man to the right\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/7.Sherry-Cola-as-Alice-Sonoya-Mizuno-as-Meredith-Justin-Min-as-Ben-in-SHORTCOMINGS.-Photo-credit_-Jon-Pack.-Courtesy-of-Sony-Pictures-Classics_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sherry Cola as Alice, Sonoya Mizuno as Meredith and Justin Min as Ben in ‘Shortcomings.’ \u003ccite>(Photo by Jon Pack; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other highlights include Cola as Ben’s friend Alice, whose naturalistic performance and presence anchor the film. While some may try to relegate her to the “funny friend” supporting role, she imbues Alice with a level of restraint and avoidance that creates a real sense of history. As a closeted Chinese-Korean American woman, she upholds a facade with her family, introducing Ben as her boyfriend and pursuing an unfulfilling journey in academia. By spinning a false image for her relatives to uphold and believe in, she guarantees they may never truly know her — and she accepts this. Her story contains so much, and I only wish I could have had more of it.\u003c/p>\n\u003cp>Ultimately, \u003cem>Shortcomings\u003c/em> is an easy watch, which is both its strength and its pitfall. While the storyline follows a pretty clear path, some scenes feel forced. Moments aren’t allowed to breathe on their own — it’s as if the film is trying to cushion any sense of discomfort a viewer might, and probably should, be feeling. Romantic background music plays when it shouldn’t, an unnecessary title card signals a new section. The film is strongest without these distractions: when the viewer is allowed to fully slip into the dialogue, mood and environment.\u003c/p>\n\u003cp>At its core, the film is about looking inward to enact change. For much of the plot, Ben’s worth rests on a deluded belief that he is better than certain people while simultaneously projecting his self-loathing onto others. “I’m sure you would’ve hated me anyways,” he tells Meredith, Alice’s new girlfriend.\u003c/p>\n\u003cp>\u003cem>Shortcomings\u003c/em> asks how we move forward despite our failings and the myriad of ways we’ve ruined relationships — with others and with ourselves. When our sense of self is completely shattered, how do we learn to forgive ourselves and change? While it’s unclear if Ben is truly capable of redemption, we as an audience are left with a sense of hope that this breaking point may finally push him to forge a new way forward.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Shortcomings’ opens in theaters nationwide on Friday, Aug. 4.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever",
"headTitle": "The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever | KQED",
"content": "\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>[aside postid='arts_13931753']\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JhXRNRmuYcc\u003c/p>\n\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>[aside postid='arts_13932259']They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\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/JhXRNRmuYcc'\n title='//www.youtube.com/embed/JhXRNRmuYcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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