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"content": "\u003cp>\u003cem>The Royal Hotel\u003c/em> is a horror movie but don’t expect any jump-cuts, scary masks or serial killers. It’s more like the horror that dawns on a frog when it realizes it is being boiled alive.\u003c/p>\n\u003cp>Filmmaker Kitty Green tells a captivating tale of two young American female backpackers who find themselves tending bar for a few weeks in a very remote part of Australia.\u003c/p>\n\u003cp>[aside postid='arts_13935519']The bar is a dump ironically called “The Royal Hotel” and the clientele are rough, hard-drinking miners unfamiliar with the etiquette of Miss Manners or even just respectful interaction.\u003c/p>\n\u003cp>Our two heroines — Julia Garner from \u003cem>Ozark\u003c/em> and Jessica Henwick from \u003cem>Glass Onion: A Knives Out Mystery\u003c/em> — really should not be in this situation. They are the recipients of dirty jokes, drunken behavior, offensive nicknames and constant propositions. One client pays for his beer by passive-aggressively tossing coins at them.\u003c/p>\n\u003cp>“Wouldn’t hurt you to smile a bit?” they are asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green, who directs with a screenplay she wrote with Oscar Redding, explores how women respond to a male-centered environment and how it can test their own friendship. The constant threat of violence hangs over this tale very uncomfortably, its wingman always being alcohol. Would-be heroes come and then show their true nature, slinking off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U9zq_4ED-pI\u003c/p>\n\u003cp>It is a subtle movie, with the growing accretion of indignities building slowly until one of the women blurts out: “I’m scared. I’m scared of this place. I’m scared of everyone and everything in this place.”\u003c/p>\n\u003cp>And yet, they stay.\u003c/p>\n\u003cp>The remoteness of the bar — a bus is always several days away — helps explain some of the stasis, but the two women have the very human tendency to settle: They make excuses, they blame themselves, they point to cultural misunderstandings and another day begins.\u003c/p>\n\u003cp>[aside postid='arts_13897161']Hugo Weaving plays the bar owner, the arbiter of what is correct (mis)behavior. But the moral center is played by Ursula Yovich, who speaks truth to power and when she leaves, allows chaos to fully enter.\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> has a pessimistic — OK, accurate — view of gender relations. The two sides simply don’t understand each other — “I can’t hear you,” says one of the women early on to a would-be suitor — and attempts at conversation are so often drowned out by noise. It asks how you can rationalize ending up mopping up puke in a dive bar in rural Down Under.\u003c/p>\n\u003cp>The movie perfectly starts with a dark remix of Men at Work’s “Down Under.” Remember the lyrics: “Buying bread from a man in Brussels/ He was 6-foot-4 and full of muscle/ I said, ‘Do you speak my language?’ He just smiled and gave me a Vegemite sandwich.”\u003c/p>\n\u003cp>\u003cem>The Royal Hotel\u003c/em> shares a vibe with Alex Garland’s sophisticated horror film \u003cem>Men\u003c/em> — an arty indictment of toxic masculinity that often felt like a lecture. But Green’s film doesn’t feel like that. The final scene will make you cheer, even if the ultimate message is murky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royal Hotel’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n",
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"title": "With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo",
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"content": "\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>[aside postid='arts_13935703']“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQDmT_Cih2Q\u003c/p>\n\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>[aside postid='arts_13935225']Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>[aside postid='arts_13933589']“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>[aside postid='arts_13930323']As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQDmT_Cih2Q'\n title='//www.youtube.com/embed/SQDmT_Cih2Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America",
"headTitle": "‘Water for Life’ Shines a Bright Light on Three Heroic Environmentalists in Latin America | KQED",
"content": "\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2021, in the Araucanía region of Chile, indigenous Mapuche chief Alberto Curamil was shot by police officers. His “crime” was leading the populist and legal resistance to a pair of mammoth hydroelectric projects proposed for the Cautín River. His injuries were not fatal, but he is never out of danger.\u003c/p>\n\u003cp>Curamil’s efforts had earned him the Goldman Environmental Prize (honoring “grassroots environmental activists from around the world”) a couple years earlier, and prominent placement in a documentary-in-progress by longtime Marin County filmmaker Will Parrinello. The completed film, narrated by actor Diego Luna and entitled \u003cem>Water for Life\u003c/em>, follows Curamil; Francisco Pineda, a corn-grower in El Salvador; and the late Berta Cáceres, of the Lenca in Honduras. The film receives its world premiere Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>“We need to move heaven and earth to try to do something to protect Alberto,” Parrinello recalls telling his impact-campaign producers at the Abaunza Group after Curamil was shot. “I don’t think we have the power to stop the forces that exist out there that want to stop Alberto from doing his work, but we do have the ability to take a bright light and shine it on him.”\u003c/p>\n\u003cfigure id=\"attachment_13935762\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/AlbertoCuramil3.jpg\" alt=\"A brown-skinned man in a blue head wrap with a white eight-pointed star stitched to its center\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/AlbertoCuramil3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Alberto Curamil in a photo taken for the 2019 Goldman Environmental Prize. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parrinello was in the throes of editing 10 years of footage when Curamil was shot, but teamed with Amnesty International Chile to produce a short bilingual \u003ca href=\"https://vimeo.com/550063224\">video\u003c/a> narrated by Peter Coyote. Senior producer and award-winning San Francisco journalist Steven Talbot noted that the journalistic ideal of objectivity they were adhering to in the film precluded the filmmakers from being the face of the campaign. So they lined up a couple other Goldman prizewinners who wrote an op-ed for \u003cem>The Washington Post\u003c/em>. “We were able to motivate that campaign but we had to stand back from the campaign,” Parrinello says.\u003c/p>\n\u003cp>\u003cem>Water for Life\u003c/em>, as it turns out, doesn’t include Curamil’s shooting and its aftermath — documentaries are subject to the demands of storytelling just as much as narrative films — but the dramatic events illuminate the complications that filmmakers face in balancing personal relationships, principled activism and journalistic obligations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Curamil’s work, \u003cem>Water for Life\u003c/em> recounts Honduran activist Berta Cáceres’s costly fight against a government-backed hydro project on the Gualcarque River and Francisco Pineda’s protection of El Salvador’s essential Rio Lempa from a gold-mine venture proposed by Canadian-based multinational Pacific Rim Mining Corp. \u003c/p>\n\u003cfigure id=\"attachment_13935758\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BertaCaceres_2000.jpg\" alt=\"Smiling woman with dark hair on piece of paper, held by two hands\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13935758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BertaCaceres_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of environmentalist Berta Cáceres held during a March 3, 2016 protest outside the Honduran embassy in Guatemala, the day after she was murdered in her own home. \u003ccite>(Johan Ordonez/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three stories came to Parrinello and his longtime filmmaking partner in the Mill Valley Film Group, John Antonelli, over many years of producing videos of the Goldman prizewinners. Parrinello notes that the prize doesn’t have any editorial control over the content in \u003cem>Water for Life\u003c/em>, which is an independent production. In fact, Parrinello licensed footage — that he and Antonellis shot and which belongs to the prize — from them.\u003c/p>\n\u003cp>“This film is not a film for the Goldman Prize, or to promote the Goldman Prize or for self-aggrandizement,” he emphasizes.\u003c/p>\n\u003cp>A key difference between \u003cem>Water for Life\u003c/em> and the prize’s commissioned video portraits is that the filmmaker recognizes that the giants have their side in these David vs. Goliath battles.\u003c/p>\n\u003cp>“Part of upholding the standards of journalism was to persevere to get the oppositional voice in the film,” Parrinello says in a Zoom interview. “Everyone said, ‘What do we have to gain by being in your film? You already have a bias. You are going to make us out to be the bad guys.’”\u003c/p>\n\u003cp>Parrinello spent six months trying to persuade Thomas Shrake, Pacific Rim’s president and CEO, to say on camera what he had told a financial publication: He was a child of the ’60s and saw himself as a steward of the earth. Consequently, he wanted to do the kind of mining that was as environmentally and socially responsible as possible.\u003c/p>\n\u003cfigure id=\"attachment_13935749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg\" alt=\"Man in cowboy hat and light blue shirt stands in a corn field\" width=\"2000\" height=\"1328\" class=\"size-full wp-image-13935749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FranciscoPineda_CornField_Intrigue_2000-1920x1275.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Pineda in a scene from ‘Water for Life.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shrake never sat for Parrinello’s camera, but local producer Rick Tejada-Flores found a tape of the exec testifying before the World Bank Administrative Tribunal; a smoothie in a suit, the disdainful Shrake doesn’t need anybody’s help to come off as the bad guy.\u003c/p>\n\u003cp>Parrinello readily admits that part of his motivation for making \u003cem>Water for Life\u003c/em> was to illuminate the international activities of corporations — usually based in the United States, Canada, Australia or China — that aren’t acceptable or legal in their home countries. This profit-seeking behavior is being done in our name as investors, Parrinello notes, which makes us responsible in tandem with the faceless multinationals.\u003c/p>\n\u003cp>“We can all no longer say it’s someone else’s responsibility to care for the earth,” Parrinello asserts. “Climate change is here and it’s a result of our actions and our activities. It’s not just that we’re burning fossil fuels. It’s our desire to consume, to have a better lifestyle, to have more material things. We have to be less concerned with profits and more concerned with the earth. One of those ways is to hold our corporate and governmental bodies accountable for their actions.”\u003c/p>\n\u003cp>Deep into a long career of making films about spiritual seekers, environmentalists and indigenous people, Parrinello’s fervid idealism has mellowed into a pragmatic recognition that the problem is embedded in us, as individuals.\u003c/p>\n\u003cfigure id=\"attachment_13935769\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg\" alt=\"Woman with dark curly hair stands on a hillside in front of a small crowd of people, left arm raised\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13935769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/2015_BertaCaceres_091-1024x683-1-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Berta Cáceres rallied the indigenous Lenca people of Honduras and waged a grassroots campaign that successfully pressured the world’s largest dam builder to pull out of the Agua Zarca Dam. \u003ccite>(Goldman Environmental Prize)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We use metals in our cars, in our cellphones, you have a gold ring when you get married,” he acknowledges with a what-are-you-going-to-do smile. “We’re all part of the extractive industries through our consumption, and just through our lives.”\u003c/p>\n\u003cp>Although \u003cem>Water for Life\u003c/em> is plainly on the side of the local people and the environmental activists, Parrinello’s diligent focus on story and character leaves no room for self-righteous venting and strident anger. Paradoxically, his craft-intensive restraint — along with the abundant beauty shots of unspoiled landscapes and the lives connected to those landscapes — encourages the viewer’s expanded emotional response.\u003c/p>\n\u003cp>This viewer, I don’t mind telling you, was quietly infuriated. \u003cem>Does every meter of Earth have to be developed and exploited? Can’t anything be left in its natural state? Does power — economic, political, military — always have to be brought to bear on people viewed (only) as in the way?\u003c/em>\u003c/p>\n\u003cp>We want the answer to be “no” to all the above. Parrinello’s controlled use of his material balances that big-picture view with the reality on the ground — the reality of those who actually dare to say “no.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Water for Life’ plays Oct. 9 and 14 at the \u003ca href=\"https://www.mvff.com/program/water-for-life/\">Mill Valley Film Festival\u003c/a> (Oct. 5–15) with a national PBS broadcast next year. It also screens Oct. 10 as part of Berkeley Law’s \u003ca href=\"https://www.law.berkeley.edu/event/film-screening-water-for-life/\">International Human Rights Law Clinic\u003c/a> with Francisco Pineda and Bertita Zuniga Cáceres (Berta Cáceres’ daughter) present.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony",
"headTitle": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13935443']As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ex3C1-5Dhb8\u003c/p>\n\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>[aside postid='arts_13935225']In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ex3C1-5Dhb8'\n title='//www.youtube.com/embed/ex3C1-5Dhb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’",
"headTitle": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’ | KQED",
"content": "\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>[aside postid='arts_13935219']As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vICUPlr3EEI\u003c/p>\n\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>[aside postid='arts_13934736']On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vICUPlr3EEI'\n title='//www.youtube.com/embed/vICUPlr3EEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "russell-brand-sexual-assault-allegations-channel-4-dispatches-sunday-times",
"title": "What Is Russell Brand Accused of? Here Are the Allegations From the UK Investigation",
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"content": "\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>[aside postid='arts_13934462']During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>[aside postid='arts_13933160']Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>[aside postid='arts_13928974']Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13923161']“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n",
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"title": "All the Allegations Against Russell Brand in Channel 4’s ‘Dispatches’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>April 7, 2025 update: On April 4, 2025, London Metropolitan Police charged Russell Brand with one count of rape, one count of indecent assault, one of oral rape and two of sexual assault.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This week, following multiple allegations of sexual assault and harassment, \u003ca href=\"https://www.kqed.org/pop/64857/where-did-russell-brand-go-the-answer-is-more-interesting-and-complex-than-youd-think\">Russell Brand\u003c/a> was dropped by his agent, and his book publisher paused future publication of his work. His content was removed from the BBC and Channel 4’s streaming platforms, and YouTube demonetized his channel.\u003c/p>\n\u003cp>The reason was a shocking Sept. 16 episode of Channel 4 investigative series \u003cem>Dispatches,\u003c/em> titled “Russell Brand: In Plain Sight.” The 78-minute show focused largely on five women who said they had terrible personal experiences with Brand. The U.K. \u003cem>Times\u003c/em> and \u003cem>Sunday Times\u003c/em> newspapers contributed to the year-long research that went into the show and also published stories on the topic. Brand has “absolutely den[ied]” any wrongdoing and described all of his prior sexual encounters as consensual.\u003c/p>\n\u003cp>The episode of \u003cem>Dispatches\u003c/em> is not yet available in the U.S. because of international broadcasting restrictions, so details of the exact allegations against Brand have so far been difficult to pinpoint on this side of the Atlantic. Below are abridged versions of the accusers’ stories, as told to the makers of \u003cem>Dispatches \u003c/em>and broadcast under pseudonyms\u003cem>. \u003c/em>\u003c/p>\n\u003cp>A warning: Everything that follows is disturbing and, in places, graphic. If you are experiencing trauma for issues relating to sexual assault, please contact \u003ca href=\"https://www.rainn.org/resources\">RAINN\u003c/a> on (800) 656-4673. The helpline is available 24/7 and is completely confidential.\u003c/p>\n\u003ch2>\u003cstrong>Rachel\u003c/strong>\u003c/h2>\n\u003cp>In 2003, Rachel worked as a runner on \u003cem>Big Brother’s EForum\u003c/em>, a popular British TV show hosted by Brand that followed episodes of the reality show. She and Brand developed a friendship over time. One day, she told \u003cem>Dispatches, \u003c/em>when she entered his dressing room, he stood with his penis exposed and requested oral sex. She declined, but said the encounter left her nervous. “He was the presenter,” she told \u003cem>Dispatches\u003c/em>. “I was a runner. I didn’t tell anyone what he had done because I didn’t want to lose my job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brand continued to be flirtatious after the incident, and Rachel softened over time, she said. Once they began a sexual relationship, Brand asked that she keep it a secret because sexual relationships with crew members were forbidden in his contract, Rachel recalled.\u003c/p>\n\u003cp>“As an older woman,” she told \u003cem>Dispatches\u003c/em>, “I can say with clarity that I felt like I was groomed for sex.”\u003c/p>\n\u003ch2>\u003cstrong>Alice\u003c/strong>\u003c/h2>\n\u003cp>Alice became involved with Brand in 2006, when she was 16 years old and he was 30. (The age of consent in the U.K. is 16.) They met at MTV headquarters in London where Alice was visiting a friend. After Brand asked her out, Alice accepted and spent three months dating him. Alice said that Brand was aroused by the fact that she was a virgin and allegedly once told her, “You’re like my little dolly.”\u003c/p>\n\u003cp>“I didn’t look like a woman by any means,” Alice told \u003cem>Dispatches\u003c/em>. “It shouldn’t be legal for a 16-year-old to have a relationship with a man in his 30s… I didn’t feel like I could argue with a grown-up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her interview with \u003cem>Dispatches\u003c/em>, Alice described an alleged incident in which Brand violently forced his penis into her mouth. She said that after she punched him in the stomach to get free and started to cry, he responded: “I only want to see your mascara run anyway.” Alice claimed that later that night, Brand held her mouth open, spat into it repeatedly, then forced her to swallow.\u003c/p>\n\u003cp>“Russell engaged in the behaviors of a groomer,” Alice told \u003cem>Dispatches\u003c/em>. “Looking back, I didn’t even know what that was… He would try to drive a wedge between me and my parents, taught me to lie to them.”\u003c/p>\n\u003cp>A family friend confirmed to researchers that Alice and Brand were involved during the period she cited.\u003c/p>\n\u003ch2>\u003cstrong>Nadia\u003c/strong>\u003c/h2>\n\u003cp>Nadia met Brand at an afterparty for an early taping of his American TV show, \u003cem>Brand X.\u003c/em> “He literally made a beeline for me,” she told \u003cem>Dispatches\u003c/em>. “We were chatting backstage. He leaned in and kissed me. It was very, very quick.”\u003c/p>\n\u003cp>Nadia and Brand kept in touch after the encounter and later slept together at his home in Los Angeles. She said that on July 1, 2012, after he invited her over, he greeted her while completely naked and immediately pushed her against a wall. Nadia tried to get away from him, but Brand allegedly persisted.\u003c/p>\n\u003cp>“I’m telling him to get off me,” Nadia told \u003cem>Dispatches\u003c/em>, “and he won’t get off. He got a glazed look in his eye… He’s holding me up against the wall, pushing himself in me. I couldn’t move.” Nadia also told producers that after the alleged rape, Brand asked if she was OK. She told him she was not and ran to her car “in a daze.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Journalists for \u003cem>Dispatches\u003c/em> confirmed the authenticity of a text message Nadia received from Brand at 3:29 that morning. “I’m sorry,” the text read. “That was crazy and selfish. I hope that you can forgive me, I know that you’re a lovely person. X”\u003c/p>\n\u003cp>Nadia sent Brand a text seven hours later that included the line “When a girl say[s] NO it means no.”\u003c/p>\n\u003cp>Also that day, Nadia went to a rape crisis center and underwent treatment. She gave staff a detailed, written account of the incident, which \u003cem>Dispatches \u003c/em>reviewed. She decided not to go to the police, apparently intimidated by Brand’s fame, and out of concern for the possible repercussions for her family.\u003c/p>\n\u003ch2>\u003cstrong>Phoebe\u003c/strong>\u003c/h2>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that she met Brand at an AA meeting in 2013. After the two had consensual sex, Brand asked Phoebe to work for him. She accepted, considering it “a big break.” Phoebe said in her interview that while she worked for Brand, she witnessed “a revolving door of women. Five-plus women a day. Just absolute mayhem.”\u003c/p>\n\u003cp>Phoebe told \u003cem>Dispatches\u003c/em> that one night, after they’d attended an event together as work colleagues, she went to pick up her belongings from his house. “He ended up naked at some point and he wound up chasing me,” Phoebe said. “It got a little more aggressive, and I think then I realized, ‘This is not a joke.'”\u003c/p>\n\u003cp>Phoebe said Brand locked her in his bedroom, held her down and began trying to have sex with her. “I saw something come over his eyes, I swear to God,” she told \u003cem>Dispatches\u003c/em>. “His eyes had no more color. They were black. Like a different person had literally entered his body. I was screaming so loud.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phoebe said that Brand eventually snapped out of it, and she managed to escape. She said that Brand attempted to apologize to her several times, but that when she returned to work a few days later, Brand warned her not to talk about what happened and threatened her with legal action. “I felt like I had nowhere to go,” she told \u003cem>Dispatches\u003c/em>. “I didn’t feel safe.”\u003c/p>\n\u003cp>\u003cem>Dispatches\u003c/em> interviewed three people whom Phoebe told about the alleged assault after it happened.\u003c/p>\n\u003ch2>\u003cstrong>Helen Berger, Brand’s PA, 2006-2007\u003c/strong>\u003c/h2>\n\u003cp>The only woman to appear on camera and provide her real name to \u003cem>Dispatches\u003c/em>, Berger worked with Brand for a short but intense period.\u003c/p>\n\u003cp>Berger told \u003cem>Dispatches\u003c/em> that Brand worked consistently in his underwear around her and had “a very active sex addiction” — something he readily publicly admitted at the time. Berger said that Brand shared photos of naked women with colleagues and friends (“I felt shame in that moment,” Berger noted), and repeatedly asked her to acquire phone numbers of female audience members at his MTV talk show, \u003cem>1 Leicester Square\u003c/em>.\u003c/p>\n\u003cp>Three other former colleagues of Brand’s said he made similar requests of them, usually with audiences predominantly made up of college students. One coworker tasked with getting the women’s numbers described it as “like leading lambs to the slaughter.” Berger said that after receiving phone calls from several women in tears, she and her colleagues raised concerns about Brand to her bosses, to no avail.\u003c/p>\n\u003ch2>\u003cstrong>Daniel Sloss\u003c/strong>\u003c/h2>\n\u003cp>Towards the end of the episode, comedian Daniel Sloss told \u003cem>Dispatches\u003c/em> that rumors about Brand’s alleged predatory behavior were well-known on the comedy circuit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There were many stories,” he said. “It wasn’t just coming from one person or one group of people. It was different incidents over different years and of varying degrees of severity … I know for many, many years, women [comedians] have been warning each other about Russell.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland",
"headTitle": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED",
"content": "\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuiMrxuSR2o\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>[aside postID='arts_11230644']The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FuiMrxuSR2o'\n title='//www.youtube.com/embed/FuiMrxuSR2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil",
"headTitle": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil | KQED",
"content": "\u003cp>Satirizing history’s mass murderers and their acolytes is risky business for filmmakers. The concern isn’t courting controversy as much as missing the mark: Jokes that don’t cut, humor with no bite, a misguided fear of offending the viewer that only succeeds in trivializing the tragedy.\u003c/p>\n\u003cp>Chilean director Pablo Larraín’s latest excursion into the inner lives of famous 20th-century figures, \u003cem>El Conde\u003c/em> \u003cem>(The Count)\u003c/em>, debuting Sept. 15 on Netflix following its festival premieres, puts the bite where it belongs: on the infamous dictator Augusto Pinochet, his family, the elites who prospered by backing his repression — and even the Catholic Church, which always has its own agenda.[aside postid='arts_13869391'] A stylish black-and-white cross between Southern (Hemisphere) Gothic and Grand Guignol opera, the bilingual \u003cem>El Conde\u003c/em> is a beautifully crafted parable about corruption and its dissolute beneficiaries.\u003c/p>\n\u003cp>Larraín and co-writer Guillermo Calderon (whose previous collaborations include the marvelous \u003cem>Neruda\u003c/em>) imagine Pinochet (Jaime Vadell) as a jaded vampire living with his fur-swathed wife Lucía (Gloria Munchmeyer) and longtime servant Fyodor (Alfredo Castro) in a remote, uninhabited corner of Chile. Like a retired, post-apocalyptic Bond villain, Pinochet has his memories, a basement freezer stocked of choice hearts for blender drinks and zero passion for life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGvX7ma7Xnk\u003c/p>\n\u003cp>An Englishwoman with Helen Mirren’s droll, caustic delivery recounts Pinochet’s origin story. Born in France in the 19th century and orphaned at a young age, he became an army officer. That’s when the Count discovers his true nature, though that scene won’t stick with me nearly as long as the image of him licking Marie Antoinette’s blood off the guillotine blade (right after we’ve been treated to a glimpse of her decapitated head).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once Pinochet lands in Chile a century and a half later, Larrain mixes in some actual history of the 1973 U.S.-backed coup that left democratically elected President Salvador Allende dead and Pinochet’s aggregation of thugs in power. Larraín’s Pinochet still maintains he was simply eliminating Communists — but, of course, one man’s anti-Communist is another man’s fascist.\u003c/p>\n\u003cfigure id=\"attachment_13934835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934835\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg\" alt=\"a group of people stand around a person lying on a table looking concerned\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Diego Muñoz as Manuel, Gloria Münchmeyer as Lucía, Antonia Zegers as Jacinta, Catalina Guerrera as Luciana and Amparo Noguera as Mercedes in ‘El Conde.’ \u003ccite>(Cr. Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the funniest and darkest conversations in \u003cem>El Conde\u003c/em> takes place in the vicinity of the aforementioned freezer. A peeved Fyodor (who is not just a loyal manservant but, bitten by Pinochet some years ago, his slave) declares, “I liked killing. You liked stealing.”\u003c/p>\n\u003cp>“No, I liked killing, too,” the Count asserts, perversely defending his self-invented reputation even in a private exchange with the single most reliable witness to his self-serving career. It’s a deranged, Trump-like moment (albeit without the bombast) that evokes the cruelty and ghastliness of Pinochet’s reign. (Jaime Vadell’s multidimensional portrayal stands alongside John Huston, Christopher Plummer and Frank Langella’s memorably menacing portrayals of seething aged patriarchs.)\u003c/p>\n\u003cp>The public misperception of his “legacy” — that he was a dedicated thief and no more — seems to be Pinochet’s motivation to tie up loose ends and shuffle off this immortal coil. It is the vast array of bearer bonds and stock certificates, however — their inheritance! that has drawn his and Lucia’s five grown-up children to the airless house. So craven are they that address their father as “my general.”\u003c/p>\n\u003cp>All this time, meanwhile, a dedicated young nun named Carmencita (Paula Luchsinger), whose superpower is accounting, is closing on the Count. Her charm, combined with the Pinochet clan’s shamelessness — that is, their expectation of blank-check immunity as part of their privilege — uncovers the extent and location of Pinochet’s accumulated fortune.\u003c/p>\n\u003cfigure id=\"attachment_13934833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-800x554.jpg\" alt=\"a black and white still image from a film of a young woman in a long cardigan holding a notebook as she sits on a bench, looking up\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paula Luchsinger as Carmencita in ‘El Conde.’ \u003ccite>(Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But wait: It turns out Carmencita was actually dispatched by her superiors to perform an exorcism of the Count. The Church, you understand, is focused on saving souls, not the grubby muck of money. That’s the reason Larrain photographs Carmencita at a crucial moment to look like the heroine of T\u003cem>he Passion of Joan of Arc\u003c/em>, Carl Theodor Dreyer’s silent-era masterpiece.\u003c/p>\n\u003cp>But can the Church outwit Satan? Or will the Count seduce and subvert the special counsel, er, covert investigator?\u003c/p>\n\u003cp>Larraín’s political commentary, meanwhile, reaches its apex with a series of audacious, chilling third-act revelations, ones I shouldn’t reveal. These nasty bits provide a (mostly) serious coda to the backstabbing and puréed-heart quaffing with which he has entertained us for the previous hour and 45 minutes.\u003c/p>\n\u003cp>Nonetheless, exactly 50 years after Pinochet’s coup, I was expecting a more viscerally savage revenge flick. To be sure, \u003cem>El Conde\u003c/em> is far more gruesome than your typical domestic melodrama, but it is also more artful — and thoughtful — than a genre horror film. Larraín doesn’t give us the catharsis of driving a stake through the tyrant’s heart, a fantasy as potentially satisfying as a verdict from the International Criminal Court in The Hague.\u003c/p>\n\u003cp>Instead, he opts for an ending that is both disturbing and haunting. Jason, Freddy Krueger and Michael Myers, eat your (or someone else’s) heart out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>El Conde\u003c/em> \u003cem>(The Count) begins streaming Sept. 15 on Netflix.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Pablo Larraín's black comedy/horror film imagines Augusto Pinochet as a vampire who's lost his appetite.",
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"title": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil | KQED",
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"headline": "Satirical ‘El Conde’ Has Little Sympathy for Chile’s Devil",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Satirizing history’s mass murderers and their acolytes is risky business for filmmakers. The concern isn’t courting controversy as much as missing the mark: Jokes that don’t cut, humor with no bite, a misguided fear of offending the viewer that only succeeds in trivializing the tragedy.\u003c/p>\n\u003cp>Chilean director Pablo Larraín’s latest excursion into the inner lives of famous 20th-century figures, \u003cem>El Conde\u003c/em> \u003cem>(The Count)\u003c/em>, debuting Sept. 15 on Netflix following its festival premieres, puts the bite where it belongs: on the infamous dictator Augusto Pinochet, his family, the elites who prospered by backing his repression — and even the Catholic Church, which always has its own agenda.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> A stylish black-and-white cross between Southern (Hemisphere) Gothic and Grand Guignol opera, the bilingual \u003cem>El Conde\u003c/em> is a beautifully crafted parable about corruption and its dissolute beneficiaries.\u003c/p>\n\u003cp>Larraín and co-writer Guillermo Calderon (whose previous collaborations include the marvelous \u003cem>Neruda\u003c/em>) imagine Pinochet (Jaime Vadell) as a jaded vampire living with his fur-swathed wife Lucía (Gloria Munchmeyer) and longtime servant Fyodor (Alfredo Castro) in a remote, uninhabited corner of Chile. Like a retired, post-apocalyptic Bond villain, Pinochet has his memories, a basement freezer stocked of choice hearts for blender drinks and zero passion for life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YGvX7ma7Xnk'\n title='//www.youtube.com/embed/YGvX7ma7Xnk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An Englishwoman with Helen Mirren’s droll, caustic delivery recounts Pinochet’s origin story. Born in France in the 19th century and orphaned at a young age, he became an army officer. That’s when the Count discovers his true nature, though that scene won’t stick with me nearly as long as the image of him licking Marie Antoinette’s blood off the guillotine blade (right after we’ve been treated to a glimpse of her decapitated head).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once Pinochet lands in Chile a century and a half later, Larrain mixes in some actual history of the 1973 U.S.-backed coup that left democratically elected President Salvador Allende dead and Pinochet’s aggregation of thugs in power. Larraín’s Pinochet still maintains he was simply eliminating Communists — but, of course, one man’s anti-Communist is another man’s fascist.\u003c/p>\n\u003cfigure id=\"attachment_13934835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934835\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg\" alt=\"a group of people stand around a person lying on a table looking concerned\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EC_20220727_BTS_0052_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Diego Muñoz as Manuel, Gloria Münchmeyer as Lucía, Antonia Zegers as Jacinta, Catalina Guerrera as Luciana and Amparo Noguera as Mercedes in ‘El Conde.’ \u003ccite>(Cr. Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the funniest and darkest conversations in \u003cem>El Conde\u003c/em> takes place in the vicinity of the aforementioned freezer. A peeved Fyodor (who is not just a loyal manservant but, bitten by Pinochet some years ago, his slave) declares, “I liked killing. You liked stealing.”\u003c/p>\n\u003cp>“No, I liked killing, too,” the Count asserts, perversely defending his self-invented reputation even in a private exchange with the single most reliable witness to his self-serving career. It’s a deranged, Trump-like moment (albeit without the bombast) that evokes the cruelty and ghastliness of Pinochet’s reign. (Jaime Vadell’s multidimensional portrayal stands alongside John Huston, Christopher Plummer and Frank Langella’s memorably menacing portrayals of seething aged patriarchs.)\u003c/p>\n\u003cp>The public misperception of his “legacy” — that he was a dedicated thief and no more — seems to be Pinochet’s motivation to tie up loose ends and shuffle off this immortal coil. It is the vast array of bearer bonds and stock certificates, however — their inheritance! that has drawn his and Lucia’s five grown-up children to the airless house. So craven are they that address their father as “my general.”\u003c/p>\n\u003cp>All this time, meanwhile, a dedicated young nun named Carmencita (Paula Luchsinger), whose superpower is accounting, is closing on the Count. Her charm, combined with the Pinochet clan’s shamelessness — that is, their expectation of blank-check immunity as part of their privilege — uncovers the extent and location of Pinochet’s accumulated fortune.\u003c/p>\n\u003cfigure id=\"attachment_13934833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/L1180628_R-800x554.jpg\" alt=\"a black and white still image from a film of a young woman in a long cardigan holding a notebook as she sits on a bench, looking up\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-2048x1418.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/L1180628_R-1920x1329.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paula Luchsinger as Carmencita in ‘El Conde.’ \u003ccite>(Diego Araya Corvalán / Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But wait: It turns out Carmencita was actually dispatched by her superiors to perform an exorcism of the Count. The Church, you understand, is focused on saving souls, not the grubby muck of money. That’s the reason Larrain photographs Carmencita at a crucial moment to look like the heroine of T\u003cem>he Passion of Joan of Arc\u003c/em>, Carl Theodor Dreyer’s silent-era masterpiece.\u003c/p>\n\u003cp>But can the Church outwit Satan? Or will the Count seduce and subvert the special counsel, er, covert investigator?\u003c/p>\n\u003cp>Larraín’s political commentary, meanwhile, reaches its apex with a series of audacious, chilling third-act revelations, ones I shouldn’t reveal. These nasty bits provide a (mostly) serious coda to the backstabbing and puréed-heart quaffing with which he has entertained us for the previous hour and 45 minutes.\u003c/p>\n\u003cp>Nonetheless, exactly 50 years after Pinochet’s coup, I was expecting a more viscerally savage revenge flick. To be sure, \u003cem>El Conde\u003c/em> is far more gruesome than your typical domestic melodrama, but it is also more artful — and thoughtful — than a genre horror film. Larraín doesn’t give us the catharsis of driving a stake through the tyrant’s heart, a fantasy as potentially satisfying as a verdict from the International Criminal Court in The Hague.\u003c/p>\n\u003cp>Instead, he opts for an ending that is both disturbing and haunting. Jason, Freddy Krueger and Michael Myers, eat your (or someone else’s) heart out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>El Conde\u003c/em> \u003cem>(The Count) begins streaming Sept. 15 on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dumb Money’ Goes All in on the GameStop Stock Frenzy — and May Come Out a Winner",
"headTitle": "‘Dumb Money’ Goes All in on the GameStop Stock Frenzy — and May Come Out a Winner | KQED",
"content": "\u003cp>Think of movies about the financial system and your mind is almost sure to go to Gordon Gekko and \u003cem>Wall Street\u003c/em> or Leonardo DiCaprio’s gyrating Jordan Belfort in \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>When Hollywood takes on Wall Street, it usually heads straight to the C-suite.\u003c/p>\n\u003cp>[aside postid='arts_13934544']The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bmr8YmwnZ3w\u003c/p>\n\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>[aside postid='arts_13934519']“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>[aside postid='arts_13933589']Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The true story of how one enthusiastic endorsement of GameStop stock fueled a viral trading frenzy that rocked Wall Street. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of movies about the financial system and your mind is almost sure to go to Gordon Gekko and \u003cem>Wall Street\u003c/em> or Leonardo DiCaprio’s gyrating Jordan Belfort in \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>When Hollywood takes on Wall Street, it usually heads straight to the C-suite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The protagonist of \u003cem>Dumb Money\u003c/em>, though, is an amateur investor who trades out of his basement in Brockton, Massachusetts, with a bandana tied around his head and a Belgian beer in his hand.\u003c/p>\n\u003cp>This is Keith Gill (played in the film by Paul Dano), also known as Roaring Kitty. In 2021, Gill’s enthusiastic endorsement of GameStop stock helped fuel a viral trading frenzy that rocked Wall Street and humbled the hedge funds that had shorted the brick-and-mortar video game company.\u003c/p>\n\u003cp>Now, Sony Pictures is betting that a David vs. Goliath story that played out on Reddit message boards can be a big-screen attraction, too. Like any investment, it carries some degree of risk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em>, made for about $30 million, is charging into a still-fresh wound for some Wall Street power players; at least one executive portrayed in the film has reportedly threatened to sue.\u003c/p>\n\u003cp>The film, which opens in limited release Friday and expands in the next several weeks, will also have to sell itself without its colorful ensemble cast (including Pete Davidson, Seth Rogen, America Ferrara, Anthony Ramos and Shailene Woodley) due to the actors strike. And then there’s the inherent challenge of making a dramatic narrative out of a revolution that occurred mainly on computer screens and smartphones.\u003c/p>\n\u003cp>Yet Craig Gillespie, director of the Tonya Harding black comedy \u003cem>I, Tonya\u003c/em>, managed to corral a brash online movement into a remarkably rollicking and crowd-pleasing entertainment that’s already stoking some of the same energy that sent GameStop soaring. Ticket prices to the movie’s Toronto International Film Festival were driven past $900 on secondary seller websites.\u003c/p>\n\u003cp>“As much as it’s a really fun ride, ultimately I wanted to respect the frustration and the outrage that was happening,” says Gillespie.\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/bmr8YmwnZ3w'\n title='//www.youtube.com/embed/bmr8YmwnZ3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many ironies surrounding \u003cem>Dumb Money\u003c/em>. It will play in AMC Theaters, which followed GameStop as a meme stock, pumping up its share price at a time when movie theaters were reeling from the pandemic.\u003c/p>\n\u003cp>“I think we should go to AMC Theaters and we should bring stuff from Bed Bath and Beyond and carry Blackberries,” says Ben Mezrich, author of the book the film’s adapted from, \u003cem>The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees\u003c/em>.\u003c/p>\n\u003cp>Mezrich, whose 2009 book about Mark Zuckerberg, \u003cem>The Accidental Billionaire\u003c/em>, served as fodder for David Fincher’s \u003cem>The Social Network\u003c/em>, immediately recognized the potential drama in the GameStop phenomenon. On the day the company’s stock surpassed $300 a share, he began plotting a book that could be adapted into a movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“By the end of that day, I knew that this was something that I wanted to write and I could see it as a film,” says Mezrich. “That night, I wrote a 12-page proposal and treatment as both a movie and book idea. By the end of the week, we had a movie.”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> proceeded at a ripped-from-the-headlines pace — fast enough that most of those involved making it failed to invest, themselves. Gillespie was able to follow the phenomenon thanks to his 24-year-old son, who had been involved with the subreddit Wall Street Bets.\u003c/p>\n\u003cp>“I got to live it through him,” says Gillespie. “That was a huge touchstone for me in terms of the emotionality of the film. That frustration, that outrage, all those emotions that were happening through this. I actually got in too late, myself. My son warned me: You got in too late.”\u003c/p>\n\u003cp>Lauren Schuker Blum and Rebecca Angelo, two former Wall Street Journal reporters turned screenwriters, came on to write the script. For them it was a way to extend their interest in the power of internet populism — and they already had some experience turning digital-based stories into something human.\u003c/p>\n\u003cp>“We wrote a film about GamerGate a long time ago that didn’t get made,” says Blum. “The producer in that process was like, ‘Alright, let’s just go out and invent a new language of cinema.’ It has taken many years trying to figure out: How do you make a story like this cinematic?”\u003c/p>\n\u003cp>\u003cem>Dumb Money\u003c/em> seamlessly juggles a wide spectrum of characters who invest in GameStop for various reasons — a Pittsburgh single-mother nurse (Ferrera), a GameStop employee (Ramos), a pair of in-debt college students (Myha’la Herrold and Talia Ryder) — while breezily synthesizing the complicated economic context.\u003c/p>\n\u003cp>“We don’t need Margot Robbie in a bathtub explaining complex financial concepts,” says Angelo, referencing 2015’s \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>The meme-stuffed grammar of the film owes much to the frenetic, inundating experience of social media, but it also works as a surprisingly accurate portrait of the pandemic. You may be surprised how affectingly, and empoweringly, the film uses the then-ubiquitous TikToks of Megan Thee Stallion’s “Savage.”\u003c/p>\n\u003cp>“It was a time when people were feeling very small. They feel small, they feel powerless, they feel that the system is rigged,” says Angelo. “And this was an opportunity to feel big and find power in numbers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gill, himself, dropped out of the spotlight as fast he entered it. His last tweet from his “Roaring Kitty” account was posted in 2021, of sleeping kittens. His investments, originally about $50,000 (much of his young family’s savings) when GameStop was going for about $5 a share, at one point reached $48 million in value.\u003c/p>\n\u003cp>The filmmakers attempted to reach Gill but ultimately respected his privacy and had no direct contact with him. Gill has said little publicly since testifying before Congress in 2021. Lawmakers were then probing whether the rally had violated regulations of market manipulation.\u003c/p>\n\u003cp>Gill maintained that he advocated for GameStop “for educational purposes only, and that my aggressive style of investing was unlikely to be suitable for most folks.” He simply believed in the company.\u003c/p>\n\u003cp>“In short,” Gill said, “I like the stock.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dumb Money’ begins its national theatrical rollout on Sept. 15, 2023.\u003c/em> \u003cem>Check local listings. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kenneth Branagh indulges in the kind of macabre theatricality that only a crumbling Venetian palazzo on a stormy Halloween night can provide in \u003cem>A Haunting in Venice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13934544']Moviegoers probably long ago made up their mind one way or another about Branagh’s stately and flawed Hercule Poirot franchise, but should there be any curiosity left, this third installment is worth it. It is spooky, fun and features Tina Fey, looking smart and sleek in post-war suits as the fast-talking author of wildly successful whodunnits who says things like “I’m the smartest person I know” in a mid-Atlantic accent.\u003c/p>\n\u003cp>Set in 1947 on a particularly foggy night in the city of canals, \u003cem>A Haunting in Venice\u003c/em> is beautiful to look at, with costumes by Sammy Sheldon, production design by John Paul Kelly and cinematography by Haris Zambarloukos. And it’s embellished with moody but palatable scares that feel reminiscent of classics like \u003cem>The Innocents\u003c/em> and \u003cem>The Others\u003c/em>, that are enhanced by Hildur Guðnadóttir’s score. In other words, this might not excite a \u003cem>Saw\u003c/em> enthusiast, but for the more easily scared and skittish it hits just the right notes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yEddsSwweyE\u003c/p>\n\u003cp>Agatha Christie takes a bit of a backseat here, as Branagh and screenwriter Michael Green take only the loosest inspiration from her 1969 book \u003cem>The Hallowe’en Party\u003c/em> for their haunting, firstly by moving it to Venice. It’s where Poirot has chosen to live out his self-imposed retirement (an enviable exile if there ever was one). His whereabouts are hardly a secret though — desperate folks line up outside of his picturesque apartment hoping he’ll take a stab at their cases. But for now, a handsome Italian bodyguard (Riccardo Scamarcio) is there to make sure they don’t get close enough to ask.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fey’s Ariadne Oliver gets through the gates, though, with a different kind of offer: She wants Poirot to accompany her to a séance. This medium, she says, appears to be the real deal and only he’ll be able to figure out if it’s all a trick. Soon he, reluctantly, finds himself at a Halloween party for the city’s orphans, held by a famous opera singer, Rowena, (Kelly Reilly) with a famously dead daughter whom they hope to contact later that evening when the children depart.\u003c/p>\n\u003cp>Branagh recruited a few of his \u003cem>Belfast\u003c/em> stars into this ensemble, including Jamie Dornan as a doctor still haunted by the war and Jude Hill as his precocious son Leopold. Camille Cottin is a housekeeper, Kyle Allen is the dead girl’s ex-fiancé, and Michelle Yeoh is the theatrical medium Mrs. Reynolds, who seems to be having a grand time chewing the scenery as a possible femme fatale. It is a distinct shift in tone from the previous films — sadder and more serious, with grief and death everywhere. Even before Alicia’s mysterious death (off a balcony, into the canal with a horrific scrape on her back) the grand palazzo had a body count: It’s where doctors are said to have locked up children to die during the plague.\u003c/p>\n\u003cp>[aside postid='arts_13934519']And this crew is in for a long, stormy, claustrophobic night with finger pointing, more deaths and some inexplicable phenomena at play. Poirot’s existential crisis is probably the least interesting aspect of the whole thing, despite its centrality to the plot, but Branagh doesn’t waste too much of his time diving into those self-indulgent waters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Branagh should have been leaning more into horror this whole time with this franchise. Or maybe it’s a case of underestimating a director whose work is prolific and not always personal. It can be hard to take stock of a filmmaker’s career when they’ve made great Shakespeare and Cinderella adaptations as well as \u003cem>Thor\u003c/em> and \u003cem>Artemis Fowl\u003c/em>. But it’s always a pleasant surprise when it works as \u003cem>A Haunting in Venice\u003c/em> very much does.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moviegoers probably long ago made up their mind one way or another about Branagh’s stately and flawed Hercule Poirot franchise, but should there be any curiosity left, this third installment is worth it. It is spooky, fun and features Tina Fey, looking smart and sleek in post-war suits as the fast-talking author of wildly successful whodunnits who says things like “I’m the smartest person I know” in a mid-Atlantic accent.\u003c/p>\n\u003cp>Set in 1947 on a particularly foggy night in the city of canals, \u003cem>A Haunting in Venice\u003c/em> is beautiful to look at, with costumes by Sammy Sheldon, production design by John Paul Kelly and cinematography by Haris Zambarloukos. And it’s embellished with moody but palatable scares that feel reminiscent of classics like \u003cem>The Innocents\u003c/em> and \u003cem>The Others\u003c/em>, that are enhanced by Hildur Guðnadóttir’s score. In other words, this might not excite a \u003cem>Saw\u003c/em> enthusiast, but for the more easily scared and skittish it hits just the right notes.\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/yEddsSwweyE'\n title='//www.youtube.com/embed/yEddsSwweyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Agatha Christie takes a bit of a backseat here, as Branagh and screenwriter Michael Green take only the loosest inspiration from her 1969 book \u003cem>The Hallowe’en Party\u003c/em> for their haunting, firstly by moving it to Venice. It’s where Poirot has chosen to live out his self-imposed retirement (an enviable exile if there ever was one). His whereabouts are hardly a secret though — desperate folks line up outside of his picturesque apartment hoping he’ll take a stab at their cases. But for now, a handsome Italian bodyguard (Riccardo Scamarcio) is there to make sure they don’t get close enough to ask.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The loudest applause on opening night at the Toronto International Film Festival was for Totoro.\u003c/p>\n\u003cp>When the Studio Ghibli logo of the magical creature from Hayao Miyazaki’s \u003cem>My Neighbor Totoro\u003c/em> appeared on the screen Thursday night, it meant to the audience the premiere of Miyazaki’s latest and perhaps last film, \u003cem>The Boy and the Heron\u003c/em>. For many at TIFF, it was the movie event of the year.\u003c/p>\n\u003cp>[aside postid='arts_13933239']A decade ago, Miyazaki, the anime master of \u003cem>Spirited Away\u003c/em>, \u003cem>Howl’s Moving Castle\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and \u003cem>Ponyo\u003c/em>, said he was retiring from film and that 2013’s \u003cem>The Wind That Rises\u003c/em> would be his last film. But Miyazaki, now 82, soon after began slowly toiling away on one more. For Miyazaki, who painstakingly crafts thousands of hand drawings for a film, it’s a long and laborious process.\u003c/p>\n\u003cp>His work has been shrouded in mystery, in part because Miyazaki very rarely does interviews. Plus, in a marketing rarity, \u003cem>The Boy and the Heron\u003c/em> has been released in Japan without any of the usual promotion — no TV ads or billboards — that accompanies such a feverishly awaited movie. (It will open in North American theaters Dec. 8.) Several of Miyazaki’s films rank among the biggest box-office hits ever in Japan; there are few other filmmakers today as revered — and fiercely beloved — as Miyazaki.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YcgvMMJyaQU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are privileged enough to be living in a time where Mozart is composing symphonies,” the filmmaker Guillermo del Toro said Thursday, introducing the film’s first screening outside Japan. “Miyazaki san is a master of that stature.”\u003c/p>\n\u003cp>Miyazaki, who didn’t travel to Toronto, has himself lampooned his inability to fully step away. In journal excerpts shared in the film’s press notes, Miyazaki writes: “There’s nothing more pathetic than telling the world you’ll retire because of your age, then making another comeback.”\u003c/p>\n\u003cp>[aside postid='arts_13933589']“Doesn’t an elderly person deluding themself that they’re still capable, despite their geriatric forgetfulness, prove that they’re past their best?” he adds. “You bet it does.”\u003c/p>\n\u003cp>The title of Miyazaki’s latest is \u003cem>Kimi-tachi wa Do Ikeru Ka?\u003c/em> in Japanese, which translates as \u003cem>How Do You Live?\u003c/em> It comes from Genzaburo Yoshino’s 1937 novel, on which the movie is loosely based. In one of his few public comments, Miyazaki was asked if his film would supply any answers to that question.\u003c/p>\n\u003cp>“I am making this movie because I do not have the answer,” Miyazaki told \u003cem>The New York Times\u003c/em> in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13934550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png\" alt=\"Animation in the Japanese manga style depicts an adolescent boy with toads crawling all over his shoulders and his head.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Boy and the Heron.’ \u003ccite>(Studio Ghibli/ GKIDS via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What may surprise some is that while there’s much wisdom and reflection in \u003cem>The Boy and Heron\u003c/em>, it’s just as infinitely imaginative as Miyazaki’s earlier films — a dazzling odyssey in the vivid mold \u003cem>Spirited Away\u003c/em>. It’s both the wistful swan song of a great filmmaker and the boundless work of an ever-young creative mind.\u003c/p>\n\u003cp>The main character is Mahito Maki (voiced by Soma Santoki), a 12-year-old boy who, in the film’s opening WWII-set scenes, loses his mother in a Tokyo hospital fire. It’s not long after that his father marries Mahito’s mother’s sister (Yoshino Kimura) and, on the country estate they have moved to, Mahito’s bitter and grief-filled life is interrupted by a gray heron (Masaki Suda) that won’t leave him alone.\u003c/p>\n\u003cp>Not unlike Satsuki and Mei of \u003cem>My Neighbor Totoro\u003c/em>, Mahito is led down a wooded path and into an enchanted realm entered through a stone tower built by Mahito’s grand-uncle. We are again, invited into a dizzyingly colorful otherworldly fantasy of Miyazaki’s making. It may be rife with metaphor — for nature, for grief, for healing — but it also exists in the pure and unfiltered dimension of dream.\u003c/p>\n\u003cp>[aside postid='arts_13933353']\u003cem>The Boy and the Heron\u003c/em> can be a convoluted place, but many will recognize countless hallmarks of Miyazaki, albeit with a particular avian atmosphere this time. Yes, there are birds — not just the heron but florid flocks of parakeets. There are fiery hearths and glowing orbs, gobs of bloody organs and malicious actors who threaten the stability of this verdant but under-siege paradise.\u003c/p>\n\u003cp>There is also an elderly granduncle with a long beard nearing the end of his life, aware that his ability to hold this crumbling world together is receding. Does he need an heir? Will it all collapse? For Miyazaki, who once said the purpose of his films was “to fill in the gap that might be in your heart or your everyday life,” \u003cem>The Boy and the Heron\u003c/em> is ultimately about letting the kingdom go.\u003c/p>\n\u003cp>“Build your own tower,” the granduncle tells Mahito.\u003c/p>\n\u003cp>If this is to be the last Miyazaki movie (it would be unwise to ever really count him out), it’s a tremendously moving goodbye. There is no legacy burnishing here but a gentle plea. Dream your own dreams. Create your own worlds. Build your own towers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Boy and the Heron’ arrives in American movie theaters on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The loudest applause on opening night at the Toronto International Film Festival was for Totoro.\u003c/p>\n\u003cp>When the Studio Ghibli logo of the magical creature from Hayao Miyazaki’s \u003cem>My Neighbor Totoro\u003c/em> appeared on the screen Thursday night, it meant to the audience the premiere of Miyazaki’s latest and perhaps last film, \u003cem>The Boy and the Heron\u003c/em>. For many at TIFF, it was the movie event of the year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A decade ago, Miyazaki, the anime master of \u003cem>Spirited Away\u003c/em>, \u003cem>Howl’s Moving Castle\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and \u003cem>Ponyo\u003c/em>, said he was retiring from film and that 2013’s \u003cem>The Wind That Rises\u003c/em> would be his last film. But Miyazaki, now 82, soon after began slowly toiling away on one more. For Miyazaki, who painstakingly crafts thousands of hand drawings for a film, it’s a long and laborious process.\u003c/p>\n\u003cp>His work has been shrouded in mystery, in part because Miyazaki very rarely does interviews. Plus, in a marketing rarity, \u003cem>The Boy and the Heron\u003c/em> has been released in Japan without any of the usual promotion — no TV ads or billboards — that accompanies such a feverishly awaited movie. (It will open in North American theaters Dec. 8.) Several of Miyazaki’s films rank among the biggest box-office hits ever in Japan; there are few other filmmakers today as revered — and fiercely beloved — as Miyazaki.\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/YcgvMMJyaQU'\n title='//www.youtube.com/embed/YcgvMMJyaQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are privileged enough to be living in a time where Mozart is composing symphonies,” the filmmaker Guillermo del Toro said Thursday, introducing the film’s first screening outside Japan. “Miyazaki san is a master of that stature.”\u003c/p>\n\u003cp>Miyazaki, who didn’t travel to Toronto, has himself lampooned his inability to fully step away. In journal excerpts shared in the film’s press notes, Miyazaki writes: “There’s nothing more pathetic than telling the world you’ll retire because of your age, then making another comeback.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Doesn’t an elderly person deluding themself that they’re still capable, despite their geriatric forgetfulness, prove that they’re past their best?” he adds. “You bet it does.”\u003c/p>\n\u003cp>The title of Miyazaki’s latest is \u003cem>Kimi-tachi wa Do Ikeru Ka?\u003c/em> in Japanese, which translates as \u003cem>How Do You Live?\u003c/em> It comes from Genzaburo Yoshino’s 1937 novel, on which the movie is loosely based. In one of his few public comments, Miyazaki was asked if his film would supply any answers to that question.\u003c/p>\n\u003cp>“I am making this movie because I do not have the answer,” Miyazaki told \u003cem>The New York Times\u003c/em> in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13934550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png\" alt=\"Animation in the Japanese manga style depicts an adolescent boy with toads crawling all over his shoulders and his head.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Screen-Shot-2023-09-08-at-12.44.22-PM.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Boy and the Heron.’ \u003ccite>(Studio Ghibli/ GKIDS via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What may surprise some is that while there’s much wisdom and reflection in \u003cem>The Boy and Heron\u003c/em>, it’s just as infinitely imaginative as Miyazaki’s earlier films — a dazzling odyssey in the vivid mold \u003cem>Spirited Away\u003c/em>. It’s both the wistful swan song of a great filmmaker and the boundless work of an ever-young creative mind.\u003c/p>\n\u003cp>The main character is Mahito Maki (voiced by Soma Santoki), a 12-year-old boy who, in the film’s opening WWII-set scenes, loses his mother in a Tokyo hospital fire. It’s not long after that his father marries Mahito’s mother’s sister (Yoshino Kimura) and, on the country estate they have moved to, Mahito’s bitter and grief-filled life is interrupted by a gray heron (Masaki Suda) that won’t leave him alone.\u003c/p>\n\u003cp>Not unlike Satsuki and Mei of \u003cem>My Neighbor Totoro\u003c/em>, Mahito is led down a wooded path and into an enchanted realm entered through a stone tower built by Mahito’s grand-uncle. We are again, invited into a dizzyingly colorful otherworldly fantasy of Miyazaki’s making. It may be rife with metaphor — for nature, for grief, for healing — but it also exists in the pure and unfiltered dimension of dream.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Boy and the Heron\u003c/em> can be a convoluted place, but many will recognize countless hallmarks of Miyazaki, albeit with a particular avian atmosphere this time. Yes, there are birds — not just the heron but florid flocks of parakeets. There are fiery hearths and glowing orbs, gobs of bloody organs and malicious actors who threaten the stability of this verdant but under-siege paradise.\u003c/p>\n\u003cp>There is also an elderly granduncle with a long beard nearing the end of his life, aware that his ability to hold this crumbling world together is receding. Does he need an heir? Will it all collapse? For Miyazaki, who once said the purpose of his films was “to fill in the gap that might be in your heart or your everyday life,” \u003cem>The Boy and the Heron\u003c/em> is ultimately about letting the kingdom go.\u003c/p>\n\u003cp>“Build your own tower,” the granduncle tells Mahito.\u003c/p>\n\u003cp>If this is to be the last Miyazaki movie (it would be unwise to ever really count him out), it’s a tremendously moving goodbye. There is no legacy burnishing here but a gentle plea. Dream your own dreams. Create your own worlds. Build your own towers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Boy and the Heron’ arrives in American movie theaters on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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