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"content": "\u003cp>This article was written by a human.\u003c/p>\n\u003cp>That’s worth mentioning because it’s no longer something you can just assume. Artificial intelligence that can mimic conversation, whether written or spoken, has been in the news a lot this year, delighting some members of the public while worrying educators, politicians, the World Health Organization, and even some of the people developing AI technology.\u003c/p>\n\u003cp>Misuse of AI is part of what actors and writers are striking about in Hollywood, and the threat of AI is something Hollywood was imagining long before it was real.\u003c/p>\n\u003cp>[aside postid='arts_13928253']In 1968, for instance, the year before humans first set foot on the moon — and a time when astronauts still used pencils and slide rules to calculate re-entry trajectories because their space capsules had less computing power than a digital watch has today — Stanley Kubrick introduced movie audiences to a sentient HAL-9000 computer in \u003cem>2001: A Space Odyssey\u003c/em>.\u003c/p>\n\u003cp>HAL (for Heuristically Programmed Algorithmic Computer) introduced itself early in the film by saying, “No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.”\u003c/p>\n\u003ch3>‘Open the pod bay door, HAL’\u003c/h3>\n\u003cp>So why was HAL acting so strangely? He (it?) was responsible for maintaining all aspects of a months-long space flight, ferrying astronauts to the moons of Jupiter. Programmed to run the mission flawlessly, the computer’s behavior had become alarming, and two of the astronauts had decided to shut down some of its functions. Their plan was short-circuited when HAL, lip-reading a conversation they’d managed to keep him from hearing, cast one of them adrift while he was outside the ship repairing an antenna and refused to let the other back on board.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NqCCubrky00\u003c/p>\n\u003cp>“Open the pod bay door, HAL” became one of the most quoted film lines of the decade when the computer responded, “I’m sorry, Dave, I’m afraid I can’t do that. This mission is too important for me to allow you to jeopardize it.”\u003c/p>\n\u003cp>It’s hard to articulate what a genuine shock this was for 1960s movie audiences. There’d been films with, say, robots causing havoc, but they were generally robots doing someone else’s bidding. Movie robots, at that point, were about brawn, not brain.\u003c/p>\n\u003cp>And anyway, malevolent robot stories were precisely the sort of B-movie silliness Kubrick was trying to avoid. So his intelligent machine simply observed (with an unblinking red eye) and, when addressed directly, spoke with a calm, modulated voice, not unlike the one that would be adopted four decades later by Siri and Alexa.\u003c/p>\n\u003ch3>Darwin Among the Machines\u003c/h3>\n\u003cp>Earlier literary notions of “artificial” intelligence — and there were not a lot of them at that point — hadn’t really caught the public’s imagination. Samuel Butler’s 1863 article \u003ca href=\"https://nzetc.victoria.ac.nz/tm/scholarly/tei-ButFir-t1-g1-t1-g1-t4-body.html\">\u003cem>Darwin Among the Machines,\u003c/em>\u003c/a> is generally thought to be the origin of this species of writing, and it mostly just notes that while humankind invented machines to assist us — and remember, a really sophisticated machine in 1863 was the steam locomotive — we were increasingly assisting them: tending, fueling, repairing.\u003c/p>\n\u003cp>[aside postid='arts_13914834']Over tens of thousands of years, Butler wondered, might humans not evolve in much the same way Darwin’s study of natural selection had just established the rest of the plant and animal kingdoms do, to the point that we would become dependent on our devices?\u003c/p>\n\u003cp>But even when he incorporated that idea a decade later into a satirical novel called \u003ca href=\"https://www.gutenberg.org/files/1906/1906-h/1906-h.htm\">\u003cem>Erewhon\u003c/em>,\u003c/a> expounding for several chapters on self-replicating machines, Butler barely touched on the notion that those machines would develop consciousness. And neither did the influential 19th-century science fiction writers who followed him. H.G. Wells and Jules Verne invented plenty of unorthodox devices as they sent characters to the center of the Earth, and into space and the recesses of time, without ever considering that those devices might want to do things on their own.\u003c/p>\n\u003cp>The term “artificial intelligence” wasn’t even coined (by American computer scientist John McCarthy) until about a dozen years before Kubrick made his \u003cem>Space Odyssey\u003c/em>. But HAL made an impression on the public where scientists had not. Within just a couple of years, movie computers didn’t just want spaceship domination; in \u003cem>Colossus: The Forbin Project\u003c/em> (1970), they wanted to take over the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kyOEwiQhzMI\u003c/p>\n\u003ch3>Malignant machines gone viral\u003c/h3>\n\u003cp>And then this notion of technology-run-wild, ran wild. A high school student played by Matthew Broderick nearly started World War III in \u003cem>WarGames\u003c/em> (1983) when he thought he was hacking a computer company but accidentally challenged the Pentagon’s defense network to a quick game of “global thermonuclear war.” The problem, it soon became clear, was that no one told the defense network they were just “playing.”\u003c/p>\n\u003cp>Elsewhere, mechanical men stopped being all-brawn and got a new dispensation to think for themselves, something fiction had granted them before Hollywood got around to it.\u003c/p>\n\u003cp>In the 1940s\u003cstrong>,\u003c/strong> sci-fi novelist Isaac Asimov came up with\u003ca href=\"https://www.britannica.com/topic/Three-Laws-of-Robotics\"> “Three Laws of Robotics”\u003c/a> that would theoretically keep “independent” machines in line. When Asimov’s story \u003cem>I, Robot,\u003c/em> was turned into a film a half-century or so later, those laws should have reassured Will Smith as he stared down thousands of bots. But he had good reason to be skeptical; he was fighting a robot rebellion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s0f3JeDVeEo\u003c/p>\n\u003cp>The \u003cem>Terminator\u003c/em> movies effectively put all these themes on steroids — cyborgs in the service of a computerized, sentient, civil-defense network called Skynet, designed to function without any human input. A “Nuclear Fire” and three billion human deaths later, what was left of humanity was engaged in a war against the machines that has so far consumed six films, a TV series, a pair of web series, and innumerable games.\u003c/p>\n\u003cp>And nuclear blasts weren’t necessary to make machine intelligence alarming, a fact cyberpunk-noir established definitively in \u003cem>Blade Runner\u003c/em> with its “replicants,” and in a \u003cem>Matrix\u003c/em> series that reduced all of humanity to a mere power source for machines.\u003c/p>\n\u003cp>[aside postid='arts_13928457']Hollywood’s still fighting that vision. Who knows what “The Entity” wants in \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">\u003cem>Mission Impossible: Dead Reckoning\u003c/em>\u003c/a> (presumably we’ll find out next year in Part Two), but whatever it is, it won’t bode well for humanity.\u003c/p>\n\u003cp>It seems not to have occurred to Tinseltown that AI might do the things it’s actually doing — make social media dangerous, or make undergrad writing courses unteachable, or screw up relationships by auto-completing incorrectly. None of those are terribly cinematic, so Hollywood concentrates on exploiting our fears — in the late 20th century, we worried about ceding control \u003cem>to\u003c/em> technology. In the 21st century, we worry about losing control \u003cem>of\u003c/em> technology.\u003c/p>\n\u003ch3>Bring on the droids\u003c/h3>\n\u003cp>Have there also been friendlier film visions of AI? Sure. George Lucas came up with lovable droids R2-D2 and C-3PO for \u003cem>Star Wars, \u003c/em>and Pixar gave us \u003cem>Wall-E\u003c/em>, a bot who was pluckily determined to clean up an entire planet we’d despoiled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dJTU48_yghs\u003c/p>\n\u003cp>Spike Jonze’s drama\u003ca href=\"https://www.npr.org/2014/01/06/260147073/the-unreal-her\"> \u003cem>Her\u003c/em> \u003c/a>imagined a sentient, Siri-like personal assistant as a digital girlfriend. \u003cem>Star Trek\u003c/em>‘s Data was not just a \u003cem>Next Generation\u003c/em> android version of Mr. Spock, but also a sort of emotion-challenged Pinocchio.\u003c/p>\n\u003cp>And another Pinocchio — this one fashioned to stand the test of time — would have been Stanley Kubrick’s own answer to the question he’d posed with HAL in 1968.\u003c/p>\n\u003cp>[aside postid='arts_13931833']Kubrick labored for decades to hone the script for \u003cem>A.I. Artificial Intelligence\u003c/em>, then just two years before he died, handed the project off to Steven Spielberg — the story of David, a robot child who has been programmed to love, and who ends up going beyond that programming.\u003c/p>\n\u003cp>“Until you were born,” William Hurt’s Professor Hobby told the bionic child he’d modeled on his own son, “robots didn’t dream, robots didn’t desire unless we told them what to want.” The miracle, he went on, was that though David was engineered rather than born, he shared with humans “the ability to chase down our dreams … something no machine has ever done, until you.”\u003c/p>\n\u003cp>That may not have been enough to make David a real boy, but it put a gentle face on what is perhaps our greatest fear about AI — that we are mortal, and it is not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_19pRsZRiz4\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the film, David outlives all of humanity, never growing up, never changing. And perhaps because he was played by Haley Joel Osment, or perhaps because Spielberg was calling the shots, or perhaps because the music swelled … just so — it didn’t feel the least bit threatening.\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=%27Open+the+pod+bay+door%2C+HAL%27+%E2%80%94+here%27s+how+AI+became+a+movie+villain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/NqCCubrky00'\n title='//www.youtube.com/embed/NqCCubrky00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Open the pod bay door, HAL” became one of the most quoted film lines of the decade when the computer responded, “I’m sorry, Dave, I’m afraid I can’t do that. This mission is too important for me to allow you to jeopardize it.”\u003c/p>\n\u003cp>It’s hard to articulate what a genuine shock this was for 1960s movie audiences. There’d been films with, say, robots causing havoc, but they were generally robots doing someone else’s bidding. Movie robots, at that point, were about brawn, not brain.\u003c/p>\n\u003cp>And anyway, malevolent robot stories were precisely the sort of B-movie silliness Kubrick was trying to avoid. So his intelligent machine simply observed (with an unblinking red eye) and, when addressed directly, spoke with a calm, modulated voice, not unlike the one that would be adopted four decades later by Siri and Alexa.\u003c/p>\n\u003ch3>Darwin Among the Machines\u003c/h3>\n\u003cp>Earlier literary notions of “artificial” intelligence — and there were not a lot of them at that point — hadn’t really caught the public’s imagination. Samuel Butler’s 1863 article \u003ca href=\"https://nzetc.victoria.ac.nz/tm/scholarly/tei-ButFir-t1-g1-t1-g1-t4-body.html\">\u003cem>Darwin Among the Machines,\u003c/em>\u003c/a> is generally thought to be the origin of this species of writing, and it mostly just notes that while humankind invented machines to assist us — and remember, a really sophisticated machine in 1863 was the steam locomotive — we were increasingly assisting them: tending, fueling, repairing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over tens of thousands of years, Butler wondered, might humans not evolve in much the same way Darwin’s study of natural selection had just established the rest of the plant and animal kingdoms do, to the point that we would become dependent on our devices?\u003c/p>\n\u003cp>But even when he incorporated that idea a decade later into a satirical novel called \u003ca href=\"https://www.gutenberg.org/files/1906/1906-h/1906-h.htm\">\u003cem>Erewhon\u003c/em>,\u003c/a> expounding for several chapters on self-replicating machines, Butler barely touched on the notion that those machines would develop consciousness. And neither did the influential 19th-century science fiction writers who followed him. H.G. Wells and Jules Verne invented plenty of unorthodox devices as they sent characters to the center of the Earth, and into space and the recesses of time, without ever considering that those devices might want to do things on their own.\u003c/p>\n\u003cp>The term “artificial intelligence” wasn’t even coined (by American computer scientist John McCarthy) until about a dozen years before Kubrick made his \u003cem>Space Odyssey\u003c/em>. But HAL made an impression on the public where scientists had not. Within just a couple of years, movie computers didn’t just want spaceship domination; in \u003cem>Colossus: The Forbin Project\u003c/em> (1970), they wanted to take over the world.\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/kyOEwiQhzMI'\n title='//www.youtube.com/embed/kyOEwiQhzMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Malignant machines gone viral\u003c/h3>\n\u003cp>And then this notion of technology-run-wild, ran wild. A high school student played by Matthew Broderick nearly started World War III in \u003cem>WarGames\u003c/em> (1983) when he thought he was hacking a computer company but accidentally challenged the Pentagon’s defense network to a quick game of “global thermonuclear war.” The problem, it soon became clear, was that no one told the defense network they were just “playing.”\u003c/p>\n\u003cp>Elsewhere, mechanical men stopped being all-brawn and got a new dispensation to think for themselves, something fiction had granted them before Hollywood got around to it.\u003c/p>\n\u003cp>In the 1940s\u003cstrong>,\u003c/strong> sci-fi novelist Isaac Asimov came up with\u003ca href=\"https://www.britannica.com/topic/Three-Laws-of-Robotics\"> “Three Laws of Robotics”\u003c/a> that would theoretically keep “independent” machines in line. When Asimov’s story \u003cem>I, Robot,\u003c/em> was turned into a film a half-century or so later, those laws should have reassured Will Smith as he stared down thousands of bots. But he had good reason to be skeptical; he was fighting a robot rebellion.\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/s0f3JeDVeEo'\n title='//www.youtube.com/embed/s0f3JeDVeEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>Terminator\u003c/em> movies effectively put all these themes on steroids — cyborgs in the service of a computerized, sentient, civil-defense network called Skynet, designed to function without any human input. A “Nuclear Fire” and three billion human deaths later, what was left of humanity was engaged in a war against the machines that has so far consumed six films, a TV series, a pair of web series, and innumerable games.\u003c/p>\n\u003cp>And nuclear blasts weren’t necessary to make machine intelligence alarming, a fact cyberpunk-noir established definitively in \u003cem>Blade Runner\u003c/em> with its “replicants,” and in a \u003cem>Matrix\u003c/em> series that reduced all of humanity to a mere power source for machines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hollywood’s still fighting that vision. Who knows what “The Entity” wants in \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">\u003cem>Mission Impossible: Dead Reckoning\u003c/em>\u003c/a> (presumably we’ll find out next year in Part Two), but whatever it is, it won’t bode well for humanity.\u003c/p>\n\u003cp>It seems not to have occurred to Tinseltown that AI might do the things it’s actually doing — make social media dangerous, or make undergrad writing courses unteachable, or screw up relationships by auto-completing incorrectly. None of those are terribly cinematic, so Hollywood concentrates on exploiting our fears — in the late 20th century, we worried about ceding control \u003cem>to\u003c/em> technology. In the 21st century, we worry about losing control \u003cem>of\u003c/em> technology.\u003c/p>\n\u003ch3>Bring on the droids\u003c/h3>\n\u003cp>Have there also been friendlier film visions of AI? Sure. George Lucas came up with lovable droids R2-D2 and C-3PO for \u003cem>Star Wars, \u003c/em>and Pixar gave us \u003cem>Wall-E\u003c/em>, a bot who was pluckily determined to clean up an entire planet we’d despoiled.\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/dJTU48_yghs'\n title='//www.youtube.com/embed/dJTU48_yghs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Spike Jonze’s drama\u003ca href=\"https://www.npr.org/2014/01/06/260147073/the-unreal-her\"> \u003cem>Her\u003c/em> \u003c/a>imagined a sentient, Siri-like personal assistant as a digital girlfriend. \u003cem>Star Trek\u003c/em>‘s Data was not just a \u003cem>Next Generation\u003c/em> android version of Mr. Spock, but also a sort of emotion-challenged Pinocchio.\u003c/p>\n\u003cp>And another Pinocchio — this one fashioned to stand the test of time — would have been Stanley Kubrick’s own answer to the question he’d posed with HAL in 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kubrick labored for decades to hone the script for \u003cem>A.I. Artificial Intelligence\u003c/em>, then just two years before he died, handed the project off to Steven Spielberg — the story of David, a robot child who has been programmed to love, and who ends up going beyond that programming.\u003c/p>\n\u003cp>“Until you were born,” William Hurt’s Professor Hobby told the bionic child he’d modeled on his own son, “robots didn’t dream, robots didn’t desire unless we told them what to want.” The miracle, he went on, was that though David was engineered rather than born, he shared with humans “the ability to chase down our dreams … something no machine has ever done, until you.”\u003c/p>\n\u003cp>That may not have been enough to make David a real boy, but it put a gentle face on what is perhaps our greatest fear about AI — that we are mortal, and it is not.\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/_19pRsZRiz4'\n title='//www.youtube.com/embed/_19pRsZRiz4'\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>In the film, David outlives all of humanity, never growing up, never changing. And perhaps because he was played by Haley Joel Osment, or perhaps because Spielberg was calling the shots, or perhaps because the music swelled … just so — it didn’t feel the least bit threatening.\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=%27Open+the+pod+bay+door%2C+HAL%27+%E2%80%94+here%27s+how+AI+became+a+movie+villain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Reubens, Who Played Pee-Wee Herman, Dies of Cancer at 70",
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"content": "\u003cp>Paul Reubens, who for years portrayed the young-at-heart character of Pee-wee Herman, has died after a private battle with cancer. He was 70.\u003c/p>\n\u003cp>Reubens died Sunday night after a six-year struggle with cancer that he did not make public, his publicist said in a statement.\u003c/p>\n\u003cp>“Please accept my apology for not going public with what I’ve been facing the last six years,” Reubens said in \u003ca href=\"https://www.instagram.com/p/CvXme4ZxAR0/?img_index=2\">a statement released with the announcement of his death\u003c/a>. “I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you.”\u003c/p>\n\u003cp>[aside postID='arts_13874995']Reubens made his name in the 1980s with the fun-loving character of Pee-wee Herman, which brought ostentatious camp to Saturday morning TV and the movie theater screen. The character with his too-tight gray suit, white chunky loafers and red bow tie was best known for the film \u003cem>Pee-wee’s Big Adventure\u003c/em> and the TV series \u003cem>Pee-wee’s Playhouse\u003c/em>.\u003c/p>\n\u003cp>Herman created Pee-wee when he was part of the Los Angeles improv group The Groundlings in the late 1970s. The live \u003cem>Pee-wee Herman Show\u003c/em> debuted at a Los Angeles theater in 1981 and was a success with both kids during matinees and adults at a midnight show. HBO would air the show as a special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Beanie Bubble,’ with Zach Galifianakis, Plunges Into a Plush ‘90s Toy Craze",
"headTitle": "‘The Beanie Bubble,’ with Zach Galifianakis, Plunges Into a Plush ‘90s Toy Craze | KQED",
"content": "\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>[aside postid='arts_13931753']We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KV32siOI9mU\u003c/p>\n\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>[aside postid='arts_13930224']They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\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 Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who knew so many movie ideas could be found while rummaging through your attic?\u003c/p>\n\u003cp>This year we’ve had movies on Tetris ( \u003cem>Tetris\u003c/em>), Nike ( \u003cem>Air\u003c/em> ), Blackberry (\u003cem>Blackberry\u003c/em>) and Cheetos (\u003ca href=\"https://www.kqed.org/arts/13930224/flamin-hot-cheetos-origin-story-movie-eva-longoria-richard-montanez\">\u003cem>Flamin’ Hot\u003c/em>\u003c/a>). The latest is \u003cem>The Beanie Bubble\u003c/em>, a comic drama about the Beanie Baby craze of the 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We once debated the ethics of product placement in movies — now the product IS the movie. It may not say entirely wonderful things about our capitalistic society that we’re pumping out big-screen movies and streaming-service content that exalts the stories behind snacks, sneaks and stuffies.\u003c/p>\n\u003cp>\u003cem>The Beanie Bubble\u003c/em>, which lands on Apple TV+ Friday, may be part of a ‘20s trend but its interest is unpacking a late-20th century phenomenon and some of the women exploited along the way. Zach Galifianakis plays Ty Warner, the chief executive of Ty Inc., the maker of the stuffed animals that — thanks to a few ingenious innovations and lucky twists of fate — became, as one character says in the film, “little plush lotto tickets.”\u003c/p>\n\u003cp>With a softer, under-stuffed design, limited editions to drive up demand and the help of the then-nascent online second-hand market of eBay, Beanie fever took hold before, a few years later, dissipating as fast as it began. “We didn’t set out to make America lose its mind, but that’s what happened,” says Warner’s business partner Robbie (Elizabeth Banks).\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/KV32siOI9mU'\n title='//www.youtube.com/embed/KV32siOI9mU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The backdrop is full of Clinton-era kitsch. But \u003cem>The Beanie Bubble\u003c/em> — a first feature by a pair of people with first-hand experience with the early days of the internet: Kristin Gore, daughter of Al, and Damion Kulash, lead singer of the band OK Go — is most concerned with a triptych of stories about the women who helped foster the Beanie craze but whose contributions were co-opted by Warner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They unfold in parallel storylines. There’s Banks’ Robbie, a friend and Ty Inc. co-founder who finds herself pushed out once success arrives. There’s Sheila (Sarah Snook), a single mother of two who’s initially won over by Warner’s charisma and playfulness with her children, only to eventually discover a warped, immature side to him. And there’s Maya (Geraldine Viswanathan), a young Ty Inc. hire who presciently leads the company’s lucrative dive into the internet yet is kept on an hourly wage.\u003c/p>\n\u003cp>The script, by Gore, comes from Zac Bissonnette’s 2015 book, \u003cem>The Great Beanie Bubble: Mass Delusion and the Dark Side of Cute\u003c/em>. (Warner was convicted of tax evasion in 2013.) In mixing up the Beanie Baby timeline to play out each storyline simultaneously, \u003cem>The Beanie Bubble\u003c/em> needlessly complicates itself. But it also makes a compelling reflection of history repeating itself.\u003c/p>\n\u003cp>Robbie, Sheila and Maya all follow the same arc: Initial infatuation followed by the harsher onset of reality. It’s the same story for the Beanie craze, and, as the film notes in a montage, countless other bubbles that have come and gone. America, it’s said in the film, is “the land of comebacks and second chances.” Here, that means an excuse for betray one woman after another.\u003c/p>\n\u003cfigure id=\"attachment_13932264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png\" alt=\"An attractive woman with chin-length red hair walks through a doorway in a dark hall. She looks concerned.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-28-at-3.16.40-PM.png 1340w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Snook — best known for her work in ‘Succession’ — plays a single mother of two in Apple TV+’s ‘The Beanie Bubble.’ \u003ccite>(Apple via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While those historical corollaries are neat enough, it also makes \u003cem>The Beanie Bubble\u003c/em>, well, kind of repetitive. Gore and Kulash’s film is far from the first to follow such ups and downs. Outside of some easy irony given the cuddliness of the product at hand, there may not be enough that makes this iteration of such a familiar cycle especially interesting.\u003c/p>\n\u003cp>What keeps \u003cem>The Beanie Bubble\u003c/em> from bursting, though, is the likability of its central performers. Banks, Snook and especially Viswanathan are all terrific comic actors who individually capture the exasperations of women fed up with an egotistical adolescent executive. And Galifianakis gives perhaps the best non-\u003cem>Between Two Ferns\u003c/em> performance of his career. His Warner is a man whose charm, and face lifts, steadily peel away. In Galifianakis’ long line of man-children, he’s the biggest baby of them all.\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 Beanie Bubble’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>[aside postID='news_11906518']One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>[aside postID='news_11821133']Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.[pullquote size='large' align='right' citation='Miya Sommers']Basically my whole family is dead because of him.[/pullquote]\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>[aside postID='news_11956611']“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After Li Lai watched an advance screening of \u003cem>Oppenheimer\u003c/em> in Seattle, she didn’t expect her take on the movie to go viral — or for it to receive so much backlash from “WWII bros,” as Lai calls them.\u003c/p>\n\u003cp>“People seem to love #Oppenheimer, but I’ll just say it,” \u003ca href=\"https://twitter.com/MediaversityRev/status/1681534717043277824\">wrote Lai\u003c/a>, the Bay Area-born Taiwanese American founder of a site called Mediaversity that grades films based on their diversity, before she went to bed that night. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”\u003c/p>\n\u003cp>“It isn’t about Japanese Americans or native Americans,” one Twitter user replied. “Anything more you wanna cry about?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One only has to glance at the replies to Lai to see that people have complicated feelings about \u003cem>Oppenheimer\u003c/em>, and that some still justify the atomic bombing of Japan and its ongoing consequences for victims’ families.\u003c/p>\n\u003cp>As a Japanese and Filipina American who has lived with the generational trauma caused by the bomb, I felt conflicted about whether or not to even see \u003cem>Oppenheimer\u003c/em>. Of course, it turned out I wasn’t alone.\u003c/p>\n\u003ch2>‘Who was this movie intended for?’\u003c/h2>\n\u003cp>Miya Sommers is a fifth-generation Japanese American living in Oakland who doesn’t plan on seeing \u003cem>Oppenheimer\u003c/em>. Sommers’ grandfather lived in a town outside of Hiroshima when the atomic bomb hit, killing several of her family members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m feeling more and more resistant to wanting to pay money to sit through that, knowing that it’s going to be pretty traumatizing,” Sommers said. “I don’t care about [Oppenheimer’s sense of] guilt. Basically my whole family is dead because of him.”\u003c/p>\n\u003cfigure id=\"attachment_13931578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png\" alt=\"A thin white man with sharp cheekbones stands alone outside, concern etched on his face. He is wearing a brown suit and hat.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-13-at-11.44.49-AM.png 1878w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy stars in ‘Oppenheimer.’ \u003ccite>(Syncopy/ Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Oppenheimer\u003c/em>, the post-bomb carnage that Sommers’ grandfather once described to her in vivid detail — severed limbs, bodies stripped of skin — goes unseen by the viewer. In its place are the reactions of Robert Oppenheimer and other white Americans as he watches a slideshow of the aftermath, his stiff, haunted face illuminated by the white glow of a projector screen thousands of miles from the final resting places of over 100,000 Japanese people.\u003c/p>\n\u003cp>Granted, Oppenheimer’s own perspective is to be expected in an Oppenheimer biopic. But the total absence of Japanese people in the film raises questions for Lai.\u003c/p>\n\u003cp>“It was very chilling that you never get to see any Japanese or Japanese Americans in the movie,” Lai said. “Like, who was this movie intended for? Was the erasure of Japanese voices purposeful or was it just lazy?”\u003c/p>\n\u003cp>Karen Umemoto, a second-generation Japanese American and the director of Asian American Studies at the University of California Los Angeles, says that she can’t erase the graphic images of bomb victims she saw at the Hiroshima Peace Memorial Museum in Japan from her mind.\u003c/p>\n\u003cp>“But those images were what made me so resolute in my belief that the nuclear option is bad and should be destroyed,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg\" alt=\"The Atomic Bomb Dome at the Hiroshima Peace Memorial\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1255649844.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Atomic Bomb Dome is seen at the Hiroshima Peace Memorial ahead of the G7 Leaders’ Summit in Hiroshima on May 18, 2023. \u003ccite>(Ludovic Marin/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Umemoto, a former community organizer for Bay Area Asians for Nuclear Disarmament, says that the vast majority of Americans don’t understand the full horrific gravity of nuclear warfare, which is what makes images of the atomic bombings so powerful.\u003c/p>\n\u003cp>“I would show depictions of the bombings that are raw and honest,” Umemoto said. “But that’s not what sells movie tickets.”\u003c/p>\n\u003cp>What makes a film like \u003cem>Oppenheimer\u003c/em> feel even weightier is absence of blockbuster Hollywood films that represent nonwhite perspectives on the war, says Umemoto.\u003c/p>\n\u003ch2>‘A powerful tool for white male perspectives’\u003c/h2>\n\u003cp>Directed by acclaimed filmmaker Christopher Nolan, the film has also received praise — even from critics of its exclusively white male viewpoint of Asian pain. For some, its technical and cinematic merits have made the debate about its narrow perspective even more fraught.\u003c/p>\n\u003cp>“I thought it was cool that the movie achieved this sense of uneasiness, which I think was purposeful,” Lai said. “I just don’t feel good about it for other reasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ponipate Rokolekutu, a professor of Race and Resistance Studies at San Francisco State University, said he wanted to scream out into the theater of mostly white moviegoers when he saw the film. As an Indigenous Fijian, Rokolekutu had hoped that Oppenheimer might shed light on the Manhattan project’s consequences for the Pacific Islands; \u003ca href=\"https://www.latimes.com/projects/marshall-islands-nuclear-testing-sea-level-rise/\">the U.S. dropped 67 nuclear test bombs\u003c/a> on and above the Marshall Islands between 1946 and 1958. He was also hoping for the perspectives of Japanese and Japanese American people, whose home nation was also brutally occupying islands in the Pacific during the war.\u003c/p>\n\u003cp>“I was struck by the dilemma that Oppenheimer had when he was fighting with the morality of the whole project,” Rokolekutu said. But what was more striking, he said, was everyone who was left out, who is consistently left out in blockbuster war movies.\u003c/p>\n\u003cp>“Hollywood is a powerful tool for white perspectives,” he said. “They don’t want other histories to be known.”\u003c/p>\n\u003cp>The film does bring nuance to Oppenheimer’s experience, from his emotional suffering over the atomic bomb to the anti-Communist witch hunt levied against him in 1954. Elsewhere in the film, though, Nolan hints at people of color as expediently as possible.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the Manhattan project breaks ground in Los Alamos, Oppenheimer makes a short quip about the “Indians” who live there, but the film doesn’t elaborate on that detail. \u003ca href=\"https://nuclearprinceton.princeton.edu/impacts-native-communities-hanford-site#:~:text=The%20Manhattan%20project%20had%20profound,uranium%20mining%20and%20Los%20Alamos\">The Native peoples who were displaced by the project\u003c/a> and whose resources were contaminated by uranium mining and nuclear testing are mentioned only one more time: after the bombing, when Oppenheimer, talking about the land, says, “give it back to the Indians.”\u003c/p>\n\u003cp>For Lai, watching the point of view that Hollywood deemed worthy of a $100 million budget, “I felt very invisible and lonely for another three hours dedicated to a white male genius.”\u003c/p>\n\u003cfigure id=\"attachment_13932208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg\" alt=\"movie posters for 'barbie' and 'oppenheimer' next to each other\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1555745048.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Movie posters for ‘Barbie’ and ‘Oppenheimer’ are pictured outside of the Cinemark Somerdale 16 and XD in Somerdale, New Jersey. \u003ccite>(Hannah Beier/Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, I decided it was worth seeing \u003cem>Oppenheimer\u003c/em>, because I wanted to know how the film did and didn’t uphold Hollywood’s legacy. When my partner and I made our way to the auditorium through crowds of monochromatic Barbie-goers, we felt nervous about what we were about to put ourselves through as Japanese Americans. (The “Barbenheimer” media frenzy, including fan-made costumes and movie poster mashups of Barbie with a fiery mushroom cloud, only further obscures \u003cem>Oppenheimer\u003c/em>’s omissions.)\u003c/p>\n\u003cp>As Oppenheimer and friends triumphed onscreen — their successful test bomb bathing the theater in blinding orange light — we sobbed quietly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“That scene made me think of how my grandfather climbed to the top of a hill near his house outside Hiroshima when he was 10 and watched the mushroom cloud get bigger,” my partner told me as we exited the theater.\u003c/p>\n\u003cp>By the film’s end, Oppenheimer is remorseful — not that he ever apologized for the atrocities in Japan — and completes his heavy-hearted hero’s journey with a profound understanding of how his invention will change the world. I was left thinking of the quote by Scottish comedian Frankie Boyle: “Not only will America go to your country and kill all your people … they’ll come back 20 years later and make a movie about how killing your people made their soldiers feel sad.”\u003c/p>\n\u003cp>\u003cem>Oppenheimer\u003c/em> does stay true to its scope, which is one man’s perspective. It’s also disappointingly faithful to a Hollywood canon that prioritizes white American experiences, leaving the pain, self-reflections and nuanced interiority of America’s victims unseen and unheard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the demands that actors and screenwriters are making in trying to renegotiate their contracts with Hollywood studios is greater residual payments, and several people in the entertainment industry have come forward to share what those residual checks look like.\u003c/p>\n\u003cp>Mandy Moore, who starred as matriarch Rebecca Pearson in NBC’s \u003cem>This Is Us\u003c/em>, said she received streaming residual checks for a penny once and 81 cents another time.\u003c/p>\n\u003cp>“So you have to, like, let them add up for a while before you go deposit them at the bank,” she said in an interview while on the picket line.\u003c/p>\n\u003cp>Residuals are payments made over the long term to actors and other theatrical workers when a TV show or movie is rerun or aired after its original release.\u003c/p>\n\u003cp>Kamil McFadden, who starred on three seasons of Disney’s \u003cem>K.C. Undercover\u003c/em>, tweeted a screen recording of his residuals, several of which had negative dollar amounts. He said his net income from the list was $2.77.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Kamil_McFadden/status/1679546658219245569\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/Cu90ofIALBP/\">Instagram video\u003c/a>, William Stanford Davis, who plays Mr. Johnson on the ABC sitcom \u003cem>Abbott Elementary\u003c/em>, showed a residual check for 5 cents.\u003c/p>\n\u003cp>“That’s what they think of us as actors,” he said. “This is why we’re on strike.”\u003c/p>\n\u003cp>Jana Schmieding, who played Bev on FX’s \u003cem>Reservation Dogs\u003c/em>, said she gets a 3-cent residual every quarter for the show being streamed on Hulu.\u003c/p>\n\u003cp>https://twitter.com/janaunplgd/status/1680733201726320642\u003c/p>\n\u003cp>“Listen, I’m an actor. I don’t want a yacht. But I’d love to be able to save for retirement,” she tweeted.\u003c/p>\n\u003cp>The Writers Guild of America is currently on the 13th week of its strike, while actors with the union SAG-AFTRA are on their second week. Both are striking against the Alliance of Motion Picture and Television Producers (AMPTP). (Note: Many NPR employees are members of SAG-AFTRA, though journalists work under a different contract than the Hollywood actors.)\u003c/p>\n\u003cp>[aside postid='arts_13928702']Writers and actors are demanding better wages, fair use of artificial intelligence and better contributions to health care and retirement.\u003c/p>\n\u003cp>The AMPTP did not immediately respond to a request for comment, but in a document titled “\u003ca href=\"https://press.amptp.org/sites/labor.amptp.org/files/AMPTP_SAG-AFTRA%20Chart.pdf\">What SAG-AFTRA Failed to Mention\u003c/a>,” issued last week, it said that in its negotiations with SAG-AFTRA, it offered a more than $1 billion increase in wages, residuals and pension and health care contributions over a three-year period.\u003c/p>\n\u003cp>In the document, the AMPTP says it offered a 22% increase in residuals for high-budget SVOD (subscription video on demand) programs from Hulu, Disney+, Netflix and Amazon Prime. It said it also presented a 76% increase in foreign residuals.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA also asked\u003c/a> for revenue sharing, which means actors would get a fixed residual and also a separate residual tied to the amount of money a show brought in once it hit streaming platforms.\u003c/p>\n\u003cp>[aside postid='arts_13931850']The AMPTP rejected that proposal and asked SAG-AFTRA to remove it from negotiations, calling it “completely illogical,” as the companies that produce a program are not entitled to any revenue from streaming and receive only a licensing fee, it said.\u003c/p>\n\u003cp>“The Union is proposing that performers share in the rewards of a successful show, without bearing any of the risk … The Union proposes to ‘share’ in success, but not in failure,” it said. “That is not sharing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_Negotiations_Status_7_13_23.pdf\">SAG-AFTRA said\u003c/a> it additionally asked for an 11% increase in general wages in the first year of the new contract and a 4% increase in each of the second and third years but was met with a proposal of 5% in the first year, 4% in the second year and 3.5% in the third.\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=Actors+take+to+the+internet+to+show+their+residual+checks%2C+with+some+in+the+negative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>From Issa Rae’s perspective, there’s plenty of talented female filmmakers willing to work. However, she knows most haven’t been afforded the same support as their male counterparts.\u003c/p>\n\u003cp>[aside postid='pop_17048']Now, Rae feels compelled to create a supportive platform for aspiring women directors through the reboot series \u003cem>Project Greenlight: A New Generation\u003c/em>, which premiered this month on Max. She brought back the Ben Affleck and Matt Damon series that debuted in 2001 on HBO about unproven filmmakers directing a feature-length movie. It was canceled 14 years later after a controversial fourth season, which included \u003ca href=\"https://www.youtube.com/results?search_query=matt+damon+effie+brown\">a heated discussion between Damon and producer Effie Brown over diversity\u003c/a>.\u003c/p>\n\u003cp>This time, Rae puts a spotlight on the next generation of women who are tasked to direct a full-length film too.\u003c/p>\n\u003cp>“The series shows that there are a lot of women out there who are interested. With proper resources and given a chance, they can absolutely deliver,” Rae said in interview before the actor’s strike. She is a mentor in the series alongside actor Kumail Nanjiani and \u003cem>The Woman King\u003c/em> director Gina Prince-Bythewood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W00grJNOIVo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae witnessed Greta Gerwig direct the big budget \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em> film\u003c/a>, which had 2023’s biggest opening. \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">Gerwig shattered the first weekend records for a film directed by a woman\u003c/a>. The \u003cem>Insecure\u003c/em> creator appeared as President Barbie in the movie starring Margot Robbie and Ryan Gosling.\u003c/p>\n\u003cp>“I saw it even while promoting \u003cem>Barbie\u003c/em>,” Rae said. “I’m working with a director who’s one of six to get a $100-million budget. Six women. It’s an industry-wide issue where there are limitations for the opportunities that women get. I think this series shines a light on a very small area that needs improvement.”\u003c/p>\n\u003cp>[aside postid='arts_13931981']Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>[aside postid='arts_13931773']“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From Issa Rae’s perspective, there’s plenty of talented female filmmakers willing to work. However, she knows most haven’t been afforded the same support as their male counterparts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, Rae feels compelled to create a supportive platform for aspiring women directors through the reboot series \u003cem>Project Greenlight: A New Generation\u003c/em>, which premiered this month on Max. She brought back the Ben Affleck and Matt Damon series that debuted in 2001 on HBO about unproven filmmakers directing a feature-length movie. It was canceled 14 years later after a controversial fourth season, which included \u003ca href=\"https://www.youtube.com/results?search_query=matt+damon+effie+brown\">a heated discussion between Damon and producer Effie Brown over diversity\u003c/a>.\u003c/p>\n\u003cp>This time, Rae puts a spotlight on the next generation of women who are tasked to direct a full-length film too.\u003c/p>\n\u003cp>“The series shows that there are a lot of women out there who are interested. With proper resources and given a chance, they can absolutely deliver,” Rae said in interview before the actor’s strike. She is a mentor in the series alongside actor Kumail Nanjiani and \u003cem>The Woman King\u003c/em> director Gina Prince-Bythewood.\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/W00grJNOIVo'\n title='//www.youtube.com/embed/W00grJNOIVo'\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>Rae witnessed Greta Gerwig direct the big budget \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em> film\u003c/a>, which had 2023’s biggest opening. \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">Gerwig shattered the first weekend records for a film directed by a woman\u003c/a>. The \u003cem>Insecure\u003c/em> creator appeared as President Barbie in the movie starring Margot Robbie and Ryan Gosling.\u003c/p>\n\u003cp>“I saw it even while promoting \u003cem>Barbie\u003c/em>,” Rae said. “I’m working with a director who’s one of six to get a $100-million budget. Six women. It’s an industry-wide issue where there are limitations for the opportunities that women get. I think this series shines a light on a very small area that needs improvement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rae said the idea to revive the series was originally presented to her by Montrel McKay, who is featured in show and serves as the president of development & production at her Hoorae Media production company. After the company approached Max with the idea to highlight first-time female directors, she said the streaming service was “enthusiastic” in what she calls the easiest greenlight from them.\u003c/p>\n\u003cp>Rae and company filtered through 10 finalists before selecting Meko Winbush, a writer-director who mostly had experience making trailers and short films. The 10-episode series pulls back the curtain on the entire filmmaking process that shows the challenges each team faces while guiding Winbush — who is a Black woman — into making a successful film project.\u003c/p>\n\u003cp>Prince-Bythewood said it was important for the series to specifically highlight female directors, who weren’t hardly featured — if at all — in the original series.\u003c/p>\n\u003cp>“I used to love the show. I used to watch every season. And there was such a normalcy to the winners always being ‘white men.’ I don’t even remember a person of color even being in the running. I don’t remember a woman,” she said. “I didn’t even question it back then, which is crazy. Being a part of it now, this reboot is way more reflective of what the industry is and needs to be.”\u003c/p>\n\u003cfigure id=\"attachment_13932091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg\" alt=\"Two Black women with shoulder length wavy hair stand close together, smiling, on a red carpet. The woman on the left wears a gold velvet suit and white shirt and clutches an award statue. The woman on the right wearing a Black suit.\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1472404785-scaled-e1690396752210.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Prince-Bythewood and Viola Davis, star of ‘The Woman King,’ attend the 2023 ‘ESSENCE’ Black Women in Hollywood Awards in LA. \u003ccite>(Robin L Marshall/Getty Images for ESSENCE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the process, Winbush was under constant pressure and struggled at times to execute her vision. She had less than 20 days to direct the science fiction thriller called \u003cem>Gray Matter\u003c/em>.\u003c/p>\n\u003cp>The cameras rolled from pre-production along with casting through principal photography and post-production.\u003c/p>\n\u003cp>“Women aren’t given a chance to direct genre movies,” said Rae, who initially had some reservations about selecting Winbush. “In hindsight, it’s ambitious to try to make a genre movie in 18 days with a very limited budget. But I give props to Meko for doing just that. This is a hard experience to do with a camera in your face. She did it and handled it with grace and was enthusiastic about the process.”\u003c/p>\n\u003cp>Prince-Bythewood sees herself in Winbush, who has become her mentee of sorts. As a fellow introvert, she tried to instill more confidence in Winbush’s stature as a leader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I thought about myself and given the situation, I could empathize with what she was going through,” said Prince-Bythewood, who made her directorial debut with \u003cem>Love & Basketball\u003c/em> and known for other films such as \u003cem>The Secret Life of Bees\u003c/em> and \u003cem>The Old Guard\u003c/em>. The director said she was determined to help Winbush learn the importance of communication, swagger and inspiring the crew.\u003c/p>\n\u003cp>“The confidence in her abilities was always there. My thing was she kept calling herself a first-time director,” she said. “I told her you can’t think of yourself like that, because then everybody else is going to think about you like that as if that’s a negative thing, like you don’t know what you’re doing as opposed to you being a director making your first film … You’re on the frontline.”\u003c/p>\n\u003cp>Regardless of how Winbush’s film panned out, Rae said the process was very beneficial. She has hopes for a second season to introduce more female directors, including some of color.\u003c/p>\n\u003cp>“If we get another opportunity, we kind of want to start smaller, make sure the script is in shape,” Rae said. “We want to give an opportunity to another director out there who needs a support system. Gina, Kumail and I lament the fact that our time was sucked by respective projects. We want to operate as even better mentors to the next hopeful and be more hands on with the project throughout.”\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>‘Project Greenlight: A New Generation’ is streaming on Max now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Talk to Me,’ the Journey Is More Fun Than the Final Destination",
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"content": "\u003cp>Did you ever go on an epic cross-country road trip, only to discover that the car ride was a lot more fun than the final destination? If you want to experience that same slightly confounding sensation at the movies this summer, then new Aussie horror flick \u003cem>Talk to Me\u003c/em> is probably for you!\u003c/p>\n\u003cp>[aside postid='arts_13904911']There is so much right about this gritty little hell-ride. There’s the alluring premise — a bunch of thrill-seeking teens use a mysterious porcelain hand to start communicating with the dead. We only know as much as the kids do about the origins of the hand, but we do meet its last owner in one of the most memorable opening scenes in recent horror history. (I’d go so far as to put it up there with \u003ca href=\"https://www.youtube.com/watch?v=Sn5SkCvPEYo\">Drew Barrymore’s turn in 1996’s \u003cem>Scream\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>Talk to Me\u003c/em> also benefits from a fantastic cast who acts the crap out of this entire thing, conveying a natural chemistry that grounds the movie in realism. (Refreshing, given how often supernatural movies fail in that task.) Particularly stellar is Sophie Wilde as Mia, an alienated teen still grieving the death of her mother. (Because yes, you can never have too many \u003ca href=\"https://www.kqed.org/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues\">mommy issues in horror movies\u003c/a>.) Wilde does most of the heavy lifting here, lurching from raw emotion to cartoonish possession in the blink of an eye. But there isn’t a bad actor in the bunch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGo4wfCejsk\u003c/p>\n\u003cp>As things begin to spiral out of control for Mia and her friends, and as dark forces begin invading their everyday spaces, the tension mounts, the unease spreads and the horror ramps up. Word of warning: There are moments of physical violence so distressing here, you’ll struggle to keep your eyes on the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13929006']Then, after all that promise and build-up, there’s the ending: the stupid, confusing, half-baked ending that’s in such a rush to tie things up neatly, a number of major questions never get appropriately answered. The fate of one of Mia’s most vulnerable friends makes the least sense of all.\u003c/p>\n\u003cp>It’s worth noting that, before they co-directed \u003cem>Talk to Me,\u003c/em> twins Danny and Michael Philippou were best known for their \u003ca href=\"https://www.youtube.com/channel/UCz_cDc_2arKIb6SlJoqFT0w\">RackaRacka YouTube channel\u003c/a>. The brothers’ goofy skits and real-life stunts garnered them a subscriber list of almost 7 million people. Fumbled ending or not, there are enough great elements in \u003cem>Talk to Me\u003c/em> that it’s likely to change the brothers’ lives fundamentally. Let’s just hope that, when it comes time for them to make their second feature, they’ll be confident and comfortable enough to stick the landing. For what it’s worth, \u003cem>Talk to Me\u003c/em> got damn close.\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>‘Talk to Me’ is released nationwide on Friday, July 28, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you ever go on an epic cross-country road trip, only to discover that the car ride was a lot more fun than the final destination? If you want to experience that same slightly confounding sensation at the movies this summer, then new Aussie horror flick \u003cem>Talk to Me\u003c/em> is probably for you!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is so much right about this gritty little hell-ride. There’s the alluring premise — a bunch of thrill-seeking teens use a mysterious porcelain hand to start communicating with the dead. We only know as much as the kids do about the origins of the hand, but we do meet its last owner in one of the most memorable opening scenes in recent horror history. (I’d go so far as to put it up there with \u003ca href=\"https://www.youtube.com/watch?v=Sn5SkCvPEYo\">Drew Barrymore’s turn in 1996’s \u003cem>Scream\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>Talk to Me\u003c/em> also benefits from a fantastic cast who acts the crap out of this entire thing, conveying a natural chemistry that grounds the movie in realism. (Refreshing, given how often supernatural movies fail in that task.) Particularly stellar is Sophie Wilde as Mia, an alienated teen still grieving the death of her mother. (Because yes, you can never have too many \u003ca href=\"https://www.kqed.org/arts/13929006/from-psycho-to-a-new-crop-of-horror-movies-the-genre-has-some-mommy-issues\">mommy issues in horror movies\u003c/a>.) Wilde does most of the heavy lifting here, lurching from raw emotion to cartoonish possession in the blink of an eye. But there isn’t a bad actor in the bunch.\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/PGo4wfCejsk'\n title='//www.youtube.com/embed/PGo4wfCejsk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As things begin to spiral out of control for Mia and her friends, and as dark forces begin invading their everyday spaces, the tension mounts, the unease spreads and the horror ramps up. Word of warning: There are moments of physical violence so distressing here, you’ll struggle to keep your eyes on the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then, after all that promise and build-up, there’s the ending: the stupid, confusing, half-baked ending that’s in such a rush to tie things up neatly, a number of major questions never get appropriately answered. The fate of one of Mia’s most vulnerable friends makes the least sense of all.\u003c/p>\n\u003cp>It’s worth noting that, before they co-directed \u003cem>Talk to Me,\u003c/em> twins Danny and Michael Philippou were best known for their \u003ca href=\"https://www.youtube.com/channel/UCz_cDc_2arKIb6SlJoqFT0w\">RackaRacka YouTube channel\u003c/a>. The brothers’ goofy skits and real-life stunts garnered them a subscriber list of almost 7 million people. Fumbled ending or not, there are enough great elements in \u003cem>Talk to Me\u003c/em> that it’s likely to change the brothers’ lives fundamentally. Let’s just hope that, when it comes time for them to make their second feature, they’ll be confident and comfortable enough to stick the landing. For what it’s worth, \u003cem>Talk to Me\u003c/em> got damn close.\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>‘Talk to Me’ is released nationwide on Friday, July 28, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With 'Barbie,' Greta Gerwig Breaks a Box Office Record for Female Directors",
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"content": "\u003cp>Greta Gerwig’s \u003cem>Barbie\u003c/em> didn’t just break the opening weekend record for 2023; It also shattered the first weekend record for a film directed by a woman.\u003c/p>\n\u003cp>With $162 million in ticket sales from North American theaters, according to studio totals Monday, \u003cem>Barbie\u003c/em> catapulted past both \u003cem>Captain Marvel\u003c/em>, which was co-directed by Anna Boden and opened to $153.4 million in 2019, and \u003cem>Wonder Woman\u003c/em>, Patty Jenkins’ 2017 film that debuted to $103.3 million. Boasting a reported price tag of $145 million, \u003cem>Barbie\u003c/em> also cost less to produce than \u003cem>Captain Marvel\u003c/em> ($152 million) and \u003cem>Wonder Woman\u003c/em> ($200 million).\u003c/p>\n\u003cp>[aside postID='arts_13931753']Globally, it far surpassed \u003cem>Wonder Woman\u003c/em>’s debut with over $337 million versus $228.3 million, though \u003cem>Captain Marvel\u003c/em>’s global launch was higher at $455 million.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>’s debut, $7 million higher than estimated on Sunday, is also significant because its audience was 65% women — not a surprise in and of itself, but as far as box office history is concerned, movies that open over $100 million often have a majority male audience (including both \u003cem>Captain Marvel\u003c/em> and \u003cem>Wonder Woman\u003c/em>). This, many have noted, is perhaps less a rule and more of a lack of big films that have been made and promoted with a blockbuster female audience in minds.\u003c/p>\n\u003cp>A close, but imperfect comparison is \u003cem>Fifty Shades of Grey\u003c/em>, which was directed by Sam Taylor-Johnson, and made $85 million in its first three days. The R-rated adaptation opened on Presidents Day weekend in 2017 for a five-day haul of $93 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> also earned the title of the third biggest July debut ever, surpassing Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> and \u003cem>The Dark Knight Rises\u003c/em> — not adjusted for inflation — and trailing only the live-action \u003cem>The Lion King\u003c/em> and \u003cem>Harry Potter and the Deathly Hallows: Part 2\u003c/em>.\u003c/p>\n\u003cp>[aside postID='news_11651802']Gerwig, \u003ca href=\"https://www.kqed.org/news/11651802/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour\">born and raised in Sacramento\u003c/a>, co-wrote and directed \u003cem>Barbie\u003c/em>, which is intended to be the first of many Mattel-inspired spinoffs. And in just one weekend it’s already surpassed the domestic grosses her last two films, \u003cem>Little Women\u003c/em>, which earned $108.1 million and \u003cem>Lady Bird\u003c/em>, with $49 million. In 2018, Gerwig also made history by becoming the fifth woman to be nominated for the best director Oscar (for \u003cem>Lady Bird\u003c/em>). As of 2023, there have now been seven women nominated for best director, and some are already predicting that Gerwig will notch another nod for next year’s ceremony.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and Gerwig’s success was celebrated widely online with many in Hollywood pausing to reflect on the moment. Reese Witherspoon posted “way to go, GG!” on Instagram, while director Ry Russo-Young wrote that “\u003cem>Barbie\u003c/em> and its success looms as a beacon of hope” amid the strikes and widely shut-down productions.\u003c/p>\n\u003cp>“It’s wildly original, feminist, giant in scope and swing, and feels singular to a perspective,” Russo-Young wrote. “These are rare qualities for big movies these days. I hope to see more made like this in the coming years.”\u003c/p>\n\u003cp>[aside postID='arts_121172']Filmmaker Nancy Meyers also celebrated the “triumph” on Instagram, but bristled at the focus on the glass ceiling aspect asking if “Christopher Nolan has ever once in his life been referred to as a male director.” Meyers and Nolan are among only a handful of writer-directors who have had two or more of their original films gross over $100 million domestically.\u003c/p>\n\u003cp>“Greta Gerwig’s \u003cem>Barbie\u003c/em> accomplished something so profound,” Melissa Silverstein, the founder of the blog Women and Hollywood and the artistic director of the Athena Film Festival, wrote in an email Monday. “The fact that she made a funny, entertaining feminist critique and broke so many box office records with a movie about a doll that has been such a lightning rod in our culture is a monumental feat that should not be underestimated.”\u003c/p>\n\u003cp>Now it’s a question of how high \u003cem>Barbie\u003c/em> can go and if it can outgross other top films directed by women. In North America, to get the No. 1 spot, \u003cem>Barbie\u003c/em> will have to earn more than \u003cem>Frozen II\u003c/em>, co-directed by Jennifer Lee, which tallied out with $477.4 million. \u003cem>Captain Marvel\u003c/em> is in second place with $426.8 million.\u003c/p>\n\u003cp>With good reviews and audience scores in its arsenal, word-of-mouth enthusiasm and watercooler buzz, as well as no direct new competition on the calendar, it’s likely that \u003cem>Barbie\u003c/em> will have “long legs,” a common phrase in the exhibition business that means a movie will continue selling significant numbers of tickets far past its opening weekend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This film is working everywhere,” said Jeff Goldstein, Warner Bros.’ head of domestic distribution. ‘This historic result reflects the intense heat, interest and enthusiasm for \u003cem>Barbie\u003c/em>.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Gerwig’s \u003cem>Barbie\u003c/em> didn’t just break the opening weekend record for 2023; It also shattered the first weekend record for a film directed by a woman.\u003c/p>\n\u003cp>With $162 million in ticket sales from North American theaters, according to studio totals Monday, \u003cem>Barbie\u003c/em> catapulted past both \u003cem>Captain Marvel\u003c/em>, which was co-directed by Anna Boden and opened to $153.4 million in 2019, and \u003cem>Wonder Woman\u003c/em>, Patty Jenkins’ 2017 film that debuted to $103.3 million. Boasting a reported price tag of $145 million, \u003cem>Barbie\u003c/em> also cost less to produce than \u003cem>Captain Marvel\u003c/em> ($152 million) and \u003cem>Wonder Woman\u003c/em> ($200 million).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Globally, it far surpassed \u003cem>Wonder Woman\u003c/em>’s debut with over $337 million versus $228.3 million, though \u003cem>Captain Marvel\u003c/em>’s global launch was higher at $455 million.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>’s debut, $7 million higher than estimated on Sunday, is also significant because its audience was 65% women — not a surprise in and of itself, but as far as box office history is concerned, movies that open over $100 million often have a majority male audience (including both \u003cem>Captain Marvel\u003c/em> and \u003cem>Wonder Woman\u003c/em>). This, many have noted, is perhaps less a rule and more of a lack of big films that have been made and promoted with a blockbuster female audience in minds.\u003c/p>\n\u003cp>A close, but imperfect comparison is \u003cem>Fifty Shades of Grey\u003c/em>, which was directed by Sam Taylor-Johnson, and made $85 million in its first three days. The R-rated adaptation opened on Presidents Day weekend in 2017 for a five-day haul of $93 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> also earned the title of the third biggest July debut ever, surpassing Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> and \u003cem>The Dark Knight Rises\u003c/em> — not adjusted for inflation — and trailing only the live-action \u003cem>The Lion King\u003c/em> and \u003cem>Harry Potter and the Deathly Hallows: Part 2\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gerwig, \u003ca href=\"https://www.kqed.org/news/11651802/sacramento-finds-and-celebrates-itself-in-new-lady-bird-walking-tour\">born and raised in Sacramento\u003c/a>, co-wrote and directed \u003cem>Barbie\u003c/em>, which is intended to be the first of many Mattel-inspired spinoffs. And in just one weekend it’s already surpassed the domestic grosses her last two films, \u003cem>Little Women\u003c/em>, which earned $108.1 million and \u003cem>Lady Bird\u003c/em>, with $49 million. In 2018, Gerwig also made history by becoming the fifth woman to be nominated for the best director Oscar (for \u003cem>Lady Bird\u003c/em>). As of 2023, there have now been seven women nominated for best director, and some are already predicting that Gerwig will notch another nod for next year’s ceremony.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and Gerwig’s success was celebrated widely online with many in Hollywood pausing to reflect on the moment. Reese Witherspoon posted “way to go, GG!” on Instagram, while director Ry Russo-Young wrote that “\u003cem>Barbie\u003c/em> and its success looms as a beacon of hope” amid the strikes and widely shut-down productions.\u003c/p>\n\u003cp>“It’s wildly original, feminist, giant in scope and swing, and feels singular to a perspective,” Russo-Young wrote. “These are rare qualities for big movies these days. I hope to see more made like this in the coming years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmmaker Nancy Meyers also celebrated the “triumph” on Instagram, but bristled at the focus on the glass ceiling aspect asking if “Christopher Nolan has ever once in his life been referred to as a male director.” Meyers and Nolan are among only a handful of writer-directors who have had two or more of their original films gross over $100 million domestically.\u003c/p>\n\u003cp>“Greta Gerwig’s \u003cem>Barbie\u003c/em> accomplished something so profound,” Melissa Silverstein, the founder of the blog Women and Hollywood and the artistic director of the Athena Film Festival, wrote in an email Monday. “The fact that she made a funny, entertaining feminist critique and broke so many box office records with a movie about a doll that has been such a lightning rod in our culture is a monumental feat that should not be underestimated.”\u003c/p>\n\u003cp>Now it’s a question of how high \u003cem>Barbie\u003c/em> can go and if it can outgross other top films directed by women. In North America, to get the No. 1 spot, \u003cem>Barbie\u003c/em> will have to earn more than \u003cem>Frozen II\u003c/em>, co-directed by Jennifer Lee, which tallied out with $477.4 million. \u003cem>Captain Marvel\u003c/em> is in second place with $426.8 million.\u003c/p>\n\u003cp>With good reviews and audience scores in its arsenal, word-of-mouth enthusiasm and watercooler buzz, as well as no direct new competition on the calendar, it’s likely that \u003cem>Barbie\u003c/em> will have “long legs,” a common phrase in the exhibition business that means a movie will continue selling significant numbers of tickets far past its opening weekend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This film is working everywhere,” said Jeff Goldstein, Warner Bros.’ head of domestic distribution. ‘This historic result reflects the intense heat, interest and enthusiasm for \u003cem>Barbie\u003c/em>.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fire is in the air this summer, literally, and at the movies. Though the flames in German filmmaker Christian Petzold’s \u003cem>Afire\u003c/em> aren’t of the nuclear variety, the smoke from his tension-filled chamber piece about a few young adults at a vacation house near the Baltic Sea certainly gets in your eyes.\u003c/p>\n\u003cp>[aside postid='arts_13931543']This is a film about youth, climate change, ego, artistry and, well, being a human in the world. So naturally the main protagonist is an arrogant, off-putting writer aggrieved by everything and everyone around him as he tries to work on his latest novel in a would-be idyllic setting.\u003c/p>\n\u003cp>To be fairer to Leon (Thomas Schubert), there is a lot to be annoyed about from the start. His friend Felix’s (Langston Uibel) car breaks down on the way and they have to lug their suitcases quite a distance to get to the holiday home. When they finally arrive at the home, it’s a mess — plates, food, wine glasses, clutter and the distinct sense that someone else is staying there. Felix’s mom forgot to tell them she’d let someone else have the place and now these two pals are going to have to share a room on top of everything. The mystery guest, Nadja (Paula Beer), who disappears during the day, can’t seem to clean up after herself and makes quite a bit of noise at night with her own guest. In other words, Leon is not sleeping or getting much writing done.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ss0jpO3txVQ\u003c/p>\n\u003cp>Empathy for Leon, however, wears thin pretty quickly. This is a man who is entirely consumed with himself, to the point where he can neither see nor empathize with anyone around him. Similarly he cannot enjoy himself or the world — he refuses to go for swims, gets annoyed at himself when he does venture to the beach and just falls asleep, he resents people for having jobs that aren’t intellectual and lets them know it, too. When Felix, a photographer, tells him about his idea for his portfolio, he callously dismisses it. Later, someone whose intellect he respects gushes about how brilliant Felix’s idea is, and Leon seethes more. And all as wildfires encroach upon the small town, threatening everything. The winds, they’re told, mean they’re safe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The metaphor might not be subtle, but it’s surprisingly effective and haunting considering what’s to come. While Schubert is perfectly unlikable as the caustic writer, the real standout is Petzold regular Beer. Nadja is a luminous presence in a complex character who has depths that no one realizes. That’s what happens when you don’t ask, right?\u003c/p>\n\u003cp>[aside postid='arts_13931848']Petzold said the film, which won the Silver Bear at the Berlin Film Festival earlier this year, was born out of actual fever dreams, as he suffered through a bout with COVID-19, and the films of Eric Rohmer, which he watched through it all. He realized the French, and even Americans, have a whole summer movie genre — these journeys of self-discovery, often on a beach — but that German cinema was lacking.\u003c/p>\n\u003cp>And perhaps this is a very German expression of a summer coming-of-age film — there are striped sweaters, a very photogenic Baltic Sea, romantic longing and dinners with too much wine and a hauntingly atmospheric song, “in my mind” by the Wallners, which sets a dreamy, Lynchian mood. There’s also guilt, grief and loss and a poignant reminder to look at the world around us before it’s gone.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afire’ will screen at San Francisco’s \u003ca href=\"https://roxie.com/film/afire/\">Roxie Theater Aug. 4 – 6\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fire is in the air this summer, literally, and at the movies. Though the flames in German filmmaker Christian Petzold’s \u003cem>Afire\u003c/em> aren’t of the nuclear variety, the smoke from his tension-filled chamber piece about a few young adults at a vacation house near the Baltic Sea certainly gets in your eyes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a film about youth, climate change, ego, artistry and, well, being a human in the world. So naturally the main protagonist is an arrogant, off-putting writer aggrieved by everything and everyone around him as he tries to work on his latest novel in a would-be idyllic setting.\u003c/p>\n\u003cp>To be fairer to Leon (Thomas Schubert), there is a lot to be annoyed about from the start. His friend Felix’s (Langston Uibel) car breaks down on the way and they have to lug their suitcases quite a distance to get to the holiday home. When they finally arrive at the home, it’s a mess — plates, food, wine glasses, clutter and the distinct sense that someone else is staying there. Felix’s mom forgot to tell them she’d let someone else have the place and now these two pals are going to have to share a room on top of everything. The mystery guest, Nadja (Paula Beer), who disappears during the day, can’t seem to clean up after herself and makes quite a bit of noise at night with her own guest. In other words, Leon is not sleeping or getting much writing done.\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/Ss0jpO3txVQ'\n title='//www.youtube.com/embed/Ss0jpO3txVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Empathy for Leon, however, wears thin pretty quickly. This is a man who is entirely consumed with himself, to the point where he can neither see nor empathize with anyone around him. Similarly he cannot enjoy himself or the world — he refuses to go for swims, gets annoyed at himself when he does venture to the beach and just falls asleep, he resents people for having jobs that aren’t intellectual and lets them know it, too. When Felix, a photographer, tells him about his idea for his portfolio, he callously dismisses it. Later, someone whose intellect he respects gushes about how brilliant Felix’s idea is, and Leon seethes more. And all as wildfires encroach upon the small town, threatening everything. The winds, they’re told, mean they’re safe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The metaphor might not be subtle, but it’s surprisingly effective and haunting considering what’s to come. While Schubert is perfectly unlikable as the caustic writer, the real standout is Petzold regular Beer. Nadja is a luminous presence in a complex character who has depths that no one realizes. That’s what happens when you don’t ask, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Petzold said the film, which won the Silver Bear at the Berlin Film Festival earlier this year, was born out of actual fever dreams, as he suffered through a bout with COVID-19, and the films of Eric Rohmer, which he watched through it all. He realized the French, and even Americans, have a whole summer movie genre — these journeys of self-discovery, often on a beach — but that German cinema was lacking.\u003c/p>\n\u003cp>And perhaps this is a very German expression of a summer coming-of-age film — there are striped sweaters, a very photogenic Baltic Sea, romantic longing and dinners with too much wine and a hauntingly atmospheric song, “in my mind” by the Wallners, which sets a dreamy, Lynchian mood. There’s also guilt, grief and loss and a poignant reminder to look at the world around us before it’s gone.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Afire’ will screen at San Francisco’s \u003ca href=\"https://roxie.com/film/afire/\">Roxie Theater Aug. 4 – 6\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "H.P. Mendoza’s ‘Secret Art’ Continues His Mission to Throw Viewers Off Their Axes",
"headTitle": "H.P. Mendoza’s ‘Secret Art’ Continues His Mission to Throw Viewers Off Their Axes | KQED",
"content": "\u003cp>All filmmakers dream of making a flying film, \u003ca href=\"http://www.hpmendoza.com/\">H.P. Mendoza\u003c/a> declares. The San Francisco director may be more obsessed with the idea than most: He wrote a screenplay, unbidden, of L. Frank Baum’s sequel, \u003cem>The Marvelous Land of Oz\u003c/em>, which contains a terrific flying sequence. \u003c/p>\n\u003cp>“When I got the script to \u003cem>The Secret Art of Human Flight\u003c/em>,” Mendoza says, “I thought, ‘This is my chance to make that movie. Why not go all out?’ The big musical cues, the jump scares. I even rounded the corners of the frame to make it look more fable-like. I wanted everything to be stylized from the get-go so you know what you’re getting into. If you’re looking for a more quiet, grounded film, you’ll know in the first two minutes to walk out of the theater. Cause this whole thing is a fairy tale.”\u003c/p>\n\u003cfigure id=\"attachment_13931852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/HP_Tribeca_1920-1020x1530.jpg\" alt=\"Portrait of man with mohawk haircut, goatee and black-rimmed glasses\" width=\"640\" height=\"960\" class=\"size-large wp-image-13931852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.P. Mendoza at the Tribeca Film Festival in 2020. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Secret Art of Human Flight\u003c/em>, which receives its West Coast premiere Sunday, July 23 in the \u003ca href=\"https://jfi.org/sfjff-2023/film-guide/the-secret-art-of-human-flight\">SF Jewish Film Festival\u003c/a>, centers on Ben (Grant Rosenmeyer), a numb young widower who falls under the sway of a mysterious stranger he encounters (where else?) online. Is Mealworm (Paul Raci, \u003cem>Sound of Metal\u003c/em>) a con artist, or an unlikely guru who outwitted gravity? Endearing and hopeful, the movie invites even chronically cynical viewers to root for Mealworm to be the real deal and for Ben’s spirit — along with his physical form — to achieve escape velocity.\u003c/p>\n\u003cp>Mendoza’s acclaimed films — \u003cem>Colma: The Musical\u003c/em>, \u003cem>Fruit Fly\u003c/em>, \u003cem>I Am a Ghost\u003c/em>, \u003cem>Bitter Melon\u003c/em> and \u003cem>Attack, Decay, Release\u003c/em> — take grounded reality and, in the service of smart, unpredictable fun, shake it out of its complacency. \u003c/p>\n\u003cp>A regular presence at LGBTQ+ and Asian American festivals, the writer-director-editor-sound designer-composer-visual effects artist-actor has built a loyal following over two decades. But he hadn’t realized that his admirers extended so far beyond his community.\u003cbr>\n\u003cem>The Secret Art of Human Flight\u003c/em> screenplay came to Mendoza through his longtime collaborator Richard Wong, who got it from Rosenmeyer, the film’s producer as well as star.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We knew of each other through Instagram,” Mendoza recalls, sitting in his office in the Mission District flat he shares with his husband. “It was one of those super-surface relationships that I thought would probably never go anywhere, because that’s how social media works. So I was shocked to find out that Grant wanted to meet me. I told him that I didn’t know if I was ready to do this [project] because I had lost three friends in a row during the pandemic, and here’s this film about dealing with grief and loss and death. That was my excuse, but the truth is I’m always looking for an out when people come to me with projects. A lot of it is, if I can be completely honest, based on insecurity.”\u003c/p>\n\u003cp>Perhaps, but Mendoza’s response is not atypical of filmmakers who covet their independence, wear several hats on set and have mastered the art of completing projects with minimal resources. They are wary of outsiders (or insiders) with grandiose promises, especially after being burned once or twice.\u003c/p>\n\u003cp>“My career has been about being super scrappy and making things very DIY and on my own terms and for very little money,” Mendoza says. “When that piece of media comes out — usually a movie – it gets distribution, lots of people see it and I get praise for being scrappy. Then someone comes up to me from Hollywood in mogul drag saying, ‘Nice job with the DIY stuff, punk, but join me and let me show you how a real movie’s made.’ I do that, and it falls through a little bit and I have to end up being scrappy again. That’s happened time and time again, where I feel like after 20 years I’m not the scrappy newbie anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13931853\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920.jpg\" alt=\"Two men stand in a room filled with fake clouds, one dressed as a 'guru,' the other shoeless, but in more regular garb\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13931853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci as Mealworm and Grant Rosenmeyer as Ben in a scene from ‘The Secret Art of Human Flight.’ \u003ccite>(Markus Mentzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this case, Mendoza was reassured by every meeting he took, and every new collaborator he met. Rather than a director-for-hire, he was a full-fledged creative equal. He added scenes to Jesse Orenshein’s script, which tilted toward buddy comedy, to expand the presence of Ben’s late Asian American wife, Sarah (Reina Hardesty). He and cinematographer Markus Mentzer, who flew to the Massachusetts location four weeks early, storyboarded the entire film with Mendoza playing all the parts and Mentzer shooting on an iPhone.\u003c/p>\n\u003cp>“Once I realized,” Mendoza says, “that Ben Wiessner, the main producer from the production company Vanishing Angle, hopped on board when he saw my name attached, I said, ‘Wait, I have reach that goes beyond the San Francisco Asian American community? I have a reputation that exceeds the queer community in the Bay Area? Here’s this guy that lives completely outside my community, but he’s been totally aware of my work.’”\u003c/p>\n\u003cp>\u003cem>The Secret Art of Human Flight\u003c/em> premiered at the Tribeca Film Festival, where it inspired moviegoers to argue late into the night about what exactly transpired at the end (just before Rosenmeyer and Raci sing “Fly” over the end credits). Nothing could have made Mendoza happier.\u003c/p>\n\u003cp>“Jon Norman Schneider, who plays the lead in \u003cem>Bitter Melon\u003c/em>, said, ‘Aren’t all your films Rorschach tests? All your films leave you with that feeling that something big just happened, but I don’t know what happened.’ I think that’s where I veer off course from being the big theatrical wannabe Hollywood filmmaker. I make loud, fast-moving films, but they all kind of end like \u003cem>Nights of Cabiria\u003c/em> and \u003cem>Persona\u003c/em> by Bergman.”\u003c/p>\n\u003cfigure id=\"attachment_13931856\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920.jpg\" alt=\"A bearded man looks right over the shoulder of the person he's hugging against a blue sky.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13931856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grant Rosenmeyer as Ben in a scene from ‘The Secret Art of Human Flight.’ \u003ccite>(Markus Mentzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza’s body of work comprises an ongoing stealth mission to confound audience expectations and throw viewers off their axes. He likes to toss open-ended storytelling at mainstream moviegoers and broad emotional scenes with big musical cues at arthouse intellectuals — in the same movie. This isn’t the stock recipe for fortune and fame, but it is the path of an artist.\u003c/p>\n\u003cp>“I learned this about the industry: When they think that something is too weird or artsy, they say, ‘That’s a very independent film idea.’ I remember feeling kind of offended at first, then thinking to myself, ‘Boy, you guys don’t watch foreign films. You don’t watch art films. You don’t even know who \u003ca href=\"https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu\">Ozu\u003c/a> is.’ I’m dealing with people who are trying to tell me the greatest works of cinema were made by Marvel. I feel like my entire time, over the past four years of being represented by an agency and pitching Hollywood studios, I’ve had to model myself and remold myself into someone who has to pretend to like these things that they say are masterpieces.”\u003c/p>\n\u003cp>Mendoza laughs, “And I’m kind of done.”\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>‘\u003ca href=\"https://jfi.org/sfjff-2023/film-guide/the-secret-art-of-human-flight\">The Secret Art of Human Flight\u003c/a>’ plays at 8:30 p.m., Sunday, July 23 at the Castro Theatre as part of the SF Jewish Film Festival. Director H.P. Mendoza, producers Ben Wiessner and Tina Carbone, and screenwriter Jesse Orenshein are expected to attend. Due to the SAG-AFTRA strike, actors Grant Rosenmeyer and Nican Robinson are no longer expected to attend.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All filmmakers dream of making a flying film, \u003ca href=\"http://www.hpmendoza.com/\">H.P. Mendoza\u003c/a> declares. The San Francisco director may be more obsessed with the idea than most: He wrote a screenplay, unbidden, of L. Frank Baum’s sequel, \u003cem>The Marvelous Land of Oz\u003c/em>, which contains a terrific flying sequence. \u003c/p>\n\u003cp>“When I got the script to \u003cem>The Secret Art of Human Flight\u003c/em>,” Mendoza says, “I thought, ‘This is my chance to make that movie. Why not go all out?’ The big musical cues, the jump scares. I even rounded the corners of the frame to make it look more fable-like. I wanted everything to be stylized from the get-go so you know what you’re getting into. If you’re looking for a more quiet, grounded film, you’ll know in the first two minutes to walk out of the theater. Cause this whole thing is a fairy tale.”\u003c/p>\n\u003cfigure id=\"attachment_13931852\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/HP_Tribeca_1920-1020x1530.jpg\" alt=\"Portrait of man with mohawk haircut, goatee and black-rimmed glasses\" width=\"640\" height=\"960\" class=\"size-large wp-image-13931852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/HP_Tribeca_1920-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">H.P. Mendoza at the Tribeca Film Festival in 2020. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Secret Art of Human Flight\u003c/em>, which receives its West Coast premiere Sunday, July 23 in the \u003ca href=\"https://jfi.org/sfjff-2023/film-guide/the-secret-art-of-human-flight\">SF Jewish Film Festival\u003c/a>, centers on Ben (Grant Rosenmeyer), a numb young widower who falls under the sway of a mysterious stranger he encounters (where else?) online. Is Mealworm (Paul Raci, \u003cem>Sound of Metal\u003c/em>) a con artist, or an unlikely guru who outwitted gravity? Endearing and hopeful, the movie invites even chronically cynical viewers to root for Mealworm to be the real deal and for Ben’s spirit — along with his physical form — to achieve escape velocity.\u003c/p>\n\u003cp>Mendoza’s acclaimed films — \u003cem>Colma: The Musical\u003c/em>, \u003cem>Fruit Fly\u003c/em>, \u003cem>I Am a Ghost\u003c/em>, \u003cem>Bitter Melon\u003c/em> and \u003cem>Attack, Decay, Release\u003c/em> — take grounded reality and, in the service of smart, unpredictable fun, shake it out of its complacency. \u003c/p>\n\u003cp>A regular presence at LGBTQ+ and Asian American festivals, the writer-director-editor-sound designer-composer-visual effects artist-actor has built a loyal following over two decades. But he hadn’t realized that his admirers extended so far beyond his community.\u003cbr>\n\u003cem>The Secret Art of Human Flight\u003c/em> screenplay came to Mendoza through his longtime collaborator Richard Wong, who got it from Rosenmeyer, the film’s producer as well as star.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We knew of each other through Instagram,” Mendoza recalls, sitting in his office in the Mission District flat he shares with his husband. “It was one of those super-surface relationships that I thought would probably never go anywhere, because that’s how social media works. So I was shocked to find out that Grant wanted to meet me. I told him that I didn’t know if I was ready to do this [project] because I had lost three friends in a row during the pandemic, and here’s this film about dealing with grief and loss and death. That was my excuse, but the truth is I’m always looking for an out when people come to me with projects. A lot of it is, if I can be completely honest, based on insecurity.”\u003c/p>\n\u003cp>Perhaps, but Mendoza’s response is not atypical of filmmakers who covet their independence, wear several hats on set and have mastered the art of completing projects with minimal resources. They are wary of outsiders (or insiders) with grandiose promises, especially after being burned once or twice.\u003c/p>\n\u003cp>“My career has been about being super scrappy and making things very DIY and on my own terms and for very little money,” Mendoza says. “When that piece of media comes out — usually a movie – it gets distribution, lots of people see it and I get praise for being scrappy. Then someone comes up to me from Hollywood in mogul drag saying, ‘Nice job with the DIY stuff, punk, but join me and let me show you how a real movie’s made.’ I do that, and it falls through a little bit and I have to end up being scrappy again. That’s happened time and time again, where I feel like after 20 years I’m not the scrappy newbie anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13931853\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920.jpg\" alt=\"Two men stand in a room filled with fake clouds, one dressed as a 'guru,' the other shoeless, but in more regular garb\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13931853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_1_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci as Mealworm and Grant Rosenmeyer as Ben in a scene from ‘The Secret Art of Human Flight.’ \u003ccite>(Markus Mentzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this case, Mendoza was reassured by every meeting he took, and every new collaborator he met. Rather than a director-for-hire, he was a full-fledged creative equal. He added scenes to Jesse Orenshein’s script, which tilted toward buddy comedy, to expand the presence of Ben’s late Asian American wife, Sarah (Reina Hardesty). He and cinematographer Markus Mentzer, who flew to the Massachusetts location four weeks early, storyboarded the entire film with Mendoza playing all the parts and Mentzer shooting on an iPhone.\u003c/p>\n\u003cp>“Once I realized,” Mendoza says, “that Ben Wiessner, the main producer from the production company Vanishing Angle, hopped on board when he saw my name attached, I said, ‘Wait, I have reach that goes beyond the San Francisco Asian American community? I have a reputation that exceeds the queer community in the Bay Area? Here’s this guy that lives completely outside my community, but he’s been totally aware of my work.’”\u003c/p>\n\u003cp>\u003cem>The Secret Art of Human Flight\u003c/em> premiered at the Tribeca Film Festival, where it inspired moviegoers to argue late into the night about what exactly transpired at the end (just before Rosenmeyer and Raci sing “Fly” over the end credits). Nothing could have made Mendoza happier.\u003c/p>\n\u003cp>“Jon Norman Schneider, who plays the lead in \u003cem>Bitter Melon\u003c/em>, said, ‘Aren’t all your films Rorschach tests? All your films leave you with that feeling that something big just happened, but I don’t know what happened.’ I think that’s where I veer off course from being the big theatrical wannabe Hollywood filmmaker. I make loud, fast-moving films, but they all kind of end like \u003cem>Nights of Cabiria\u003c/em> and \u003cem>Persona\u003c/em> by Bergman.”\u003c/p>\n\u003cfigure id=\"attachment_13931856\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920.jpg\" alt=\"A bearded man looks right over the shoulder of the person he's hugging against a blue sky.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13931856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/THESECRETARTOFHUMANFLIGHT_MARKUS_MENTZER_2_1920-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grant Rosenmeyer as Ben in a scene from ‘The Secret Art of Human Flight.’ \u003ccite>(Markus Mentzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza’s body of work comprises an ongoing stealth mission to confound audience expectations and throw viewers off their axes. He likes to toss open-ended storytelling at mainstream moviegoers and broad emotional scenes with big musical cues at arthouse intellectuals — in the same movie. This isn’t the stock recipe for fortune and fame, but it is the path of an artist.\u003c/p>\n\u003cp>“I learned this about the industry: When they think that something is too weird or artsy, they say, ‘That’s a very independent film idea.’ I remember feeling kind of offended at first, then thinking to myself, ‘Boy, you guys don’t watch foreign films. You don’t watch art films. You don’t even know who \u003ca href=\"https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu\">Ozu\u003c/a> is.’ I’m dealing with people who are trying to tell me the greatest works of cinema were made by Marvel. I feel like my entire time, over the past four years of being represented by an agency and pitching Hollywood studios, I’ve had to model myself and remold myself into someone who has to pretend to like these things that they say are masterpieces.”\u003c/p>\n\u003cp>Mendoza laughs, “And I’m kind of done.”\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>‘\u003ca href=\"https://jfi.org/sfjff-2023/film-guide/the-secret-art-of-human-flight\">The Secret Art of Human Flight\u003c/a>’ plays at 8:30 p.m., Sunday, July 23 at the Castro Theatre as part of the SF Jewish Film Festival. Director H.P. Mendoza, producers Ben Wiessner and Tina Carbone, and screenwriter Jesse Orenshein are expected to attend. Due to the SAG-AFTRA strike, actors Grant Rosenmeyer and Nican Robinson are no longer expected to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie",
"headTitle": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie | KQED",
"content": "\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931677']Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gvZccmVDl9Y\u003c/p>\n\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931981']At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Barbie and Ken might be the center of attention, but Allan provides the movie's moral center and heart.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\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/gvZccmVDl9Y'\n title='//www.youtube.com/embed/gvZccmVDl9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film",
"headTitle": "Endometriosis, a Painful, Often Overlooked Disease, Gets Attention in a New Film | KQED",
"content": "\u003cfigure id=\"attachment_13931719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg\" alt=\"The sweat drenched torso of a woman is viewed in close up, with seven lesions visible around the belly button. Each is circled and numbered.\" width=\"800\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-800x750.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1020x956.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-768x720.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625-1536x1440.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/btb_art_textless-smaller_custom-b72ea6874476aaf1327e6e9927a71f415da2d204-scaled-e1689619816625.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Below the Belt’ is a documentary about endometriosis. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jenneh Rishe, a registered nurse, is not the type to let a health mystery go unsolved.\u003c/p>\n\u003cp>At age 30 and living in Los Angeles, she was determined to suss out the cause of the abdominal pain that sent her to the ER seven times in two years, as well as other symptoms like shortness of breath. She’d seen specialists including OB/GYNs pulmonologists and cardiologists. But the tests always came back normal.\u003c/p>\n\u003cp>[aside postid='arts_13914530']“I thought maybe I’m dying or I have some kind of rare disease. But then I go online and find millions of women are going through exactly what I’m going through,” Rishe explained.\u003c/p>\n\u003cp>She shared the story in the first few minutes of \u003cem>Below the Belt: The Last Health Taboo,\u003c/em> a \u003ca href=\"https://www.belowthebelt.film/\">new documentary\u003c/a> that follows four people on a years-long search for effective treatment for endometriosis.\u003c/p>\n\u003cp>This chronic inflammatory disease, which often causes severe pain during menstruation, is often poorly understood. People with endometriosis have tissue similar to that found in the uterine lining growing outside of the uterus, sometimes on the ovaries, fallopian tubes, bowel or other organs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to sometimes debilitating menstrual pain, it can cause heavy bleeding and infertility. In one international study, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/21718982/\">women lost an average of 10.8 hours per week of work\u003c/a> due to endometriosis symptoms.\u003c/p>\n\u003cp>“Even though endometriosis feels like a strange, foreign word and unfriendly to most people who’ve never heard of it, the fact of the matter is that it affects everyone,” said the film’s director Shannon Cohn, in an interview with NPR. “Either you have it or you love someone who has it.”\u003c/p>\n\u003cp>The disease affects an estimated 1 in 10 women of reproductive age according to the American College of Obstetricians and Gynecologists. Cohn says ignorance around the disease — both in the public and among medical professionals — is the result of historic undervaluing and underfunding of women’s health care.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z39-b4v6L1U\u003c/p>\n\u003cp>\u003cem>Below the Belt\u003c/em> aired on PBS last month is \u003ca href=\"https://www.pbs.org/show/below-belt-last-health-taboo/\">available to stream for free at PBS.org\u003c/a> and on the PBS streaming service until July 10, 2023.\u003c/p>\n\u003cp>Here are seven big takeaways from watching the film and speaking with Cohn.\u003c/p>\n\u003ch3>1. Endometriosis isn’t ‘just bad periods’\u003c/h3>\n\u003cp>“My first symptoms were actually GI symptoms,” says Cohn, who began experiencing symptoms at the age of 16. “I ran the whole gamut of why do I have stomach aches all the time? And that’s actually quite common that a lot of people with endometriosis first present with GI symptoms instead of painful periods,” says Cohn.\u003c/p>\n\u003cp>Other common symptoms include migraines, painful intercourse, chronic fatigue, abdominal swelling, and pelvic pain throughout the cycle.\u003c/p>\n\u003cp>The wide variety of symptoms can make it hard to diagnose — a doctor must perform surgery to make a definitive diagnosis. It typically takes a patient anywhere from\u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/30625295/\"> four to 10 years from first experiencing symptoms\u003c/a> to receive an accurate diagnosis.\u003c/p>\n\u003ch3>2. Commonly prescribed meds often do little to help\u003c/h3>\n\u003cp>If a patient shows up at their OB/GYN’s office complaining of painful menstruation or other problems that appear or worsen during their period, the doctor typically prescribes medication to suppress the hormonal cycle — often a hormonal contraceptive such as a birth control pill. These medications mitigate symptoms by allowing the patient to have a lighter period, or stop the cycle entirely.\u003c/p>\n\u003cp>[aside postid='arts_13930824']It’s important to understand that if a patient has endometriosis, hormonal medications don’t actually treat the disease, says Iris Orbuch, an endometriosis specialist who appears in the film. “We’re using the same medicines that have been around for about 30 years. They don’t make endometriosis go away, they don’t melt endometriosis,” Orbuch said in the film. “But the side effects are probably worse than the benefits that the women are receiving from the medicine.”\u003c/p>\n\u003cp>Patients interviewed for the film describe side effects including brittle teeth, hot flashes, depression and “PMS on steroids, on crack, on cocaine, and every possible stimulant.”\u003c/p>\n\u003ch3>3. A hysterectomy won’t cure endometriosis. Neither will pregnancy\u003c/h3>\n\u003cfigure id=\"attachment_13931723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg\" alt=\"A young woman wearing glasses lies in a hospital bed, visibly in pain, while an older man strokes her hair and kisses her forehead.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1536x1000.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Below the Belt’ shows Laura Cone of Saskatchewan, Canada with her father. She had four ablation surgeries with general OB/GYNs, but her condition kept deteriorating until she found a surgeon who did excision surgery. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 100,000 hysterectomies are performed every year for the disease and … most are unnecessary,” says \u003ca href=\"https://centerforendo.com/introduction-to-the-staff\">Heather Guidone\u003c/a>, surgical program director at the Center for Endometriosis Care in Atlanta, Ga. Another common myth is that if a person with endometriosis gets pregnant, their symptoms won’t return after their cycle resumes.\u003c/p>\n\u003cp>Guidone says the idea that both these false notions are based on an outdated theory that says if you stop periods, the disease goes away. A study of endometriosis patients who had hysterectomies and took painkillers \u003ca href=\"https://obgyn.onlinelibrary.wiley.com/doi/full/10.1111/1471-0528.16469\">showed no reduction in the amount of opioid and non-opioid painkillers\u003c/a> prescribed in the three years after surgery.\u003c/p>\n\u003cp>Why? One theory about the origin of endometriosis is that it’s the result of retrograde menstruation — meaning that during menstruation, some of the shed uterine lining travels through the fallopian tubes and implants in places where it shouldn’t be. People who ascribe to this theory think hysterectomy would help but still is not a cure.\u003c/p>\n\u003cp>But other surgeons like \u003ca href=\"https://endopaedia.info/redwine.html\">David Redwine\u003c/a>, who also appears in the film, point to evidence that endometriosis tissue actually appears during embryonic development. And so removing the uterus wouldn’t affect that tissue that’s been there since birth.\u003c/p>\n\u003cp>A hysterectomy is, however, the definitive treatment for adenomyosis — a disease where tissue from the uterine lining invades the muscle wall of the uterus. Adenomyosis also causes painful menstruation and infertility, and \u003ca href=\"https://nancysnookendo.com/hysterectomy-and-endometriosis/\">many patients have both conditions\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m28VUzDyaSs\u003c/p>\n\u003ch3>4. Endometriosis is responsible for up to 50% of infertility,\u003c/h3>\n\u003cp>Another of the film’s subjects is \u003ca href=\"https://www.kyung.com/\">Kyung Jeon-Miranda\u003c/a>, a Brooklyn-based artist whose paintings, featured in \u003cem>Below the Belt,\u003c/em> reflect her struggles with fertility and longing for motherhood. Jeon says she was told in her early twenties that she’d never be able to conceive. But at 39, she and her husband are trying for a baby.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reproductivefacts.org/news-and-publications/fact-sheets-and-infographics/endometriosis-does-it-cause-infertility/\">Endometriosis can negatively impact fertility in several ways\u003c/a> including distorting the anatomy of the pelvis, causing scarring on the fallopian tubes and ovaries, changing the hormonal environment, and altering the functioning of the immune system. Surgery to remove endometriosis and fertility treatments may increase the likelihood of a successful pregnancy.\u003c/p>\n\u003ch3>5. Most surgeons are doing endometriosis surgery wrong\u003c/h3>\n\u003cp>\u003cem>Below the Belt\u003c/em> subject Laura Cone, 28, of Saskatchewan, Canada, had four surgeries with general OB/GYNs. But her condition kept deteriorating, impacting her ability to drive and run her business. Laura’s doctors had performed ablation — where an instrument is used to incinerate visible endometriosis tissue.\u003c/p>\n\u003cp>While ablation is the most common type of endometriosis surgery, it misses tissue hidden from the naked eye. Like Cone, many patients return for repeat ablations after their symptoms resume.\u003c/p>\n\u003cp>[aside postid='arts_13912974']“I use the analogy, if you have cancer and you have a tumor, do you want someone who’s not a specialist to burn off the surface of that tumor, or do you want a specialist to go in and cut it out?” the film’s director Cohn says.\u003c/p>\n\u003cp>The gold standard method of surgery is excision, where a surgeon removes endometriosis lesions and often adjacent tissue. Studies show a \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/28456617/\">greater reduction in symptoms\u003c/a> after excision compared with ablation, and fewer patients come back for repeat surgeries.\u003c/p>\n\u003cp>While many OB/GYNs who see patients for routine care perform ablation, excision surgery is done by surgeons with specialized training. And many of these specialists do not accept health insurance.\u003c/p>\n\u003cp>As the film explains, the medical billing codes for the two types of surgery are the same — even though ablation is typically performed in under an hour, while excision can take four hours or more. “You have a whole staff who are depending on you to pay their salaries and you have to pay the light bill,” says Ted Anderson, past president of ACOG, in the film. “There are a lot of economic pressures as well as do-the-right-thing-pressures.”\u003c/p>\n\u003cp>In the film, Cone’s father says he took out a second mortgage to raise the $25,000 needed to pay for his daughter’s excision surgery in the U.S.\u003c/p>\n\u003cp>There are surgeons qualified to do excision at teaching hospitals, Cohn points out, who do accept health insurance.\u003c/p>\n\u003ch3>6. To get proper care, patients need to take their health into their own hands.\u003c/h3>\n\u003cp>Both Laura Cone and Jenneh Rishe learned about excision surgery from other patients on the internet. Facebook groups like \u003ca href=\"https://www.facebook.com/groups/289078084538377\">Endometropolis \u003c/a>and \u003ca href=\"https://www.facebook.com/groups/418136991574617\">Nancy’s Nook\u003c/a> provide forums for patients to ask questions, compare experiences, recommend doctors, and even share surgery photos. Endometriosis specialists and nurses often answer questions in these groups as well. TikTok videos about endometriosis\u003ca href=\"https://www.newsweek.com/below-belt-endometriosis-movie-documentary-director-interview-1710510\"> have over 1 billion views\u003c/a>.\u003c/p>\n\u003cp>[aside postid='news_11951879']“When you’re not getting the answers that you need and, and want from a health care provider, you’re going to go somewhere else,” says Cohn. “Of course there’s misinformation everywhere and that includes online … But you can do some digging and try to put the pieces together and learn from other people who have been in your position,” she says.\u003c/p>\n\u003cp>Cohn also encourages patients to ask pointed questions in their doctors’ appointments, especially when considering surgery. She recommends asking the surgeon if they do excision, and how frequently they perform endometriosis surgery; as well as talking to other patients who have had surgeries performed by the specialist you’re working with.\u003c/p>\n\u003cp>In general, the earlier a patient receives excision surgery, the less they will suffer, because the symptoms tend to get worse over the female reproductive years. Endometriosis patients may find relief for their symptoms by many means, including \u003ca href=\"https://health.clevelandclinic.org/endometriosis-diet/\">changes to diet\u003c/a> and exercise, and receiving\u003ca href=\"https://www.sideeffectspublicmedia.org/personal-health/2013-12-29/can-abdominal-massage-help-painful-menstruation\"> massage\u003c/a> and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5659600/\">acupuncture\u003c/a>. But experts say only excision surgery can halt progression of the disease.\u003c/p>\n\u003ch3>7. A bipartisan effort is working to secure more funding for endometriosis research.\u003c/h3>\n\u003cp>Emily Hatch, the youngest of the film’s subjects, is a high school senior from Massachusetts whose endometriosis threatens her ability to attend college. In one scene, Emily’s mother is on the phone with then Utah Senator Orrin Hatch — Emily’s grandfather. He says he wants to help.\u003c/p>\n\u003cp>Emily Hatch and her mother along with Project Endo, the organization behind \u003cem>Below the Belt,\u003c/em> worked with Senators Hatch and Sen. Elizabeth Warren to get \u003ca href=\"https://www.projectendo.org/research-funding\">$9.2 million in funding from the Department of Defense allocated for endometriosis research\u003c/a> in 2018. After Hatch’s retirement in 2019, Sen. Mitt Romney has worked alongside Warren to press for funding from the National Institutes of Health.\u003c/p>\n\u003cp>[aside postid='arts_13931543']This March, Warren and Romney \u003ca href=\"https://thehill.com/blogs/in-the-know/3881454-senate-screening-of-below-the-belt-spotlights-fight-against-endometriosis/\">hosted a screening of the documentary\u003c/a> before the Senate. Hillary Clinton is one of the film’s executive producers.\u003c/p>\n\u003cp>Cohn says more research funding is sorely needed to address the disease’s many unknowns. “I hope that we can do things like trying to find … what is actually causing endometriosis. Because until we find that out, it’s hard to really find ways to treat it. I hope that we can find a non-invasive diagnostic tool, so that women don’t have to go years and years without understanding what is going on in their body. I hope that research can yield non-hormonal treatment options,” Cohn says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrea Muraskin is a podcast producer and writer living in Boston. She writes the NPR Health newsletter, and is the host and creator of the podcast\u003c/em>\u003ca href=\"https://www.andreamuraskin.com/lady-parts-podcast\">\u003cem> LADYPARTS: Taking a Wide View on Women’s Health\u003c/em>\u003c/a>\u003cem>. \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=Endometriosis%2C+a+painful+and+often+overlooked+disease%2C+gets+attention+in+a+new+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I thought maybe I’m dying or I have some kind of rare disease. But then I go online and find millions of women are going through exactly what I’m going through,” Rishe explained.\u003c/p>\n\u003cp>She shared the story in the first few minutes of \u003cem>Below the Belt: The Last Health Taboo,\u003c/em> a \u003ca href=\"https://www.belowthebelt.film/\">new documentary\u003c/a> that follows four people on a years-long search for effective treatment for endometriosis.\u003c/p>\n\u003cp>This chronic inflammatory disease, which often causes severe pain during menstruation, is often poorly understood. People with endometriosis have tissue similar to that found in the uterine lining growing outside of the uterus, sometimes on the ovaries, fallopian tubes, bowel or other organs.\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 sometimes debilitating menstrual pain, it can cause heavy bleeding and infertility. In one international study, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/21718982/\">women lost an average of 10.8 hours per week of work\u003c/a> due to endometriosis symptoms.\u003c/p>\n\u003cp>“Even though endometriosis feels like a strange, foreign word and unfriendly to most people who’ve never heard of it, the fact of the matter is that it affects everyone,” said the film’s director Shannon Cohn, in an interview with NPR. “Either you have it or you love someone who has it.”\u003c/p>\n\u003cp>The disease affects an estimated 1 in 10 women of reproductive age according to the American College of Obstetricians and Gynecologists. Cohn says ignorance around the disease — both in the public and among medical professionals — is the result of historic undervaluing and underfunding of women’s health care.\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/Z39-b4v6L1U'\n title='//www.youtube.com/embed/Z39-b4v6L1U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Below the Belt\u003c/em> aired on PBS last month is \u003ca href=\"https://www.pbs.org/show/below-belt-last-health-taboo/\">available to stream for free at PBS.org\u003c/a> and on the PBS streaming service until July 10, 2023.\u003c/p>\n\u003cp>Here are seven big takeaways from watching the film and speaking with Cohn.\u003c/p>\n\u003ch3>1. Endometriosis isn’t ‘just bad periods’\u003c/h3>\n\u003cp>“My first symptoms were actually GI symptoms,” says Cohn, who began experiencing symptoms at the age of 16. “I ran the whole gamut of why do I have stomach aches all the time? And that’s actually quite common that a lot of people with endometriosis first present with GI symptoms instead of painful periods,” says Cohn.\u003c/p>\n\u003cp>Other common symptoms include migraines, painful intercourse, chronic fatigue, abdominal swelling, and pelvic pain throughout the cycle.\u003c/p>\n\u003cp>The wide variety of symptoms can make it hard to diagnose — a doctor must perform surgery to make a definitive diagnosis. It typically takes a patient anywhere from\u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/30625295/\"> four to 10 years from first experiencing symptoms\u003c/a> to receive an accurate diagnosis.\u003c/p>\n\u003ch3>2. Commonly prescribed meds often do little to help\u003c/h3>\n\u003cp>If a patient shows up at their OB/GYN’s office complaining of painful menstruation or other problems that appear or worsen during their period, the doctor typically prescribes medication to suppress the hormonal cycle — often a hormonal contraceptive such as a birth control pill. These medications mitigate symptoms by allowing the patient to have a lighter period, or stop the cycle entirely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s important to understand that if a patient has endometriosis, hormonal medications don’t actually treat the disease, says Iris Orbuch, an endometriosis specialist who appears in the film. “We’re using the same medicines that have been around for about 30 years. They don’t make endometriosis go away, they don’t melt endometriosis,” Orbuch said in the film. “But the side effects are probably worse than the benefits that the women are receiving from the medicine.”\u003c/p>\n\u003cp>Patients interviewed for the film describe side effects including brittle teeth, hot flashes, depression and “PMS on steroids, on crack, on cocaine, and every possible stimulant.”\u003c/p>\n\u003ch3>3. A hysterectomy won’t cure endometriosis. Neither will pregnancy\u003c/h3>\n\u003cfigure id=\"attachment_13931723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg\" alt=\"A young woman wearing glasses lies in a hospital bed, visibly in pain, while an older man strokes her hair and kisses her forehead.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5-1536x1000.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/brian-laura-hospital0_custom-438703e6f039925555c99e8d9a3a961a643298a5.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Below the Belt’ shows Laura Cone of Saskatchewan, Canada with her father. She had four ablation surgeries with general OB/GYNs, but her condition kept deteriorating until she found a surgeon who did excision surgery. \u003ccite>(‘Below the Belt’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Over 100,000 hysterectomies are performed every year for the disease and … most are unnecessary,” says \u003ca href=\"https://centerforendo.com/introduction-to-the-staff\">Heather Guidone\u003c/a>, surgical program director at the Center for Endometriosis Care in Atlanta, Ga. Another common myth is that if a person with endometriosis gets pregnant, their symptoms won’t return after their cycle resumes.\u003c/p>\n\u003cp>Guidone says the idea that both these false notions are based on an outdated theory that says if you stop periods, the disease goes away. A study of endometriosis patients who had hysterectomies and took painkillers \u003ca href=\"https://obgyn.onlinelibrary.wiley.com/doi/full/10.1111/1471-0528.16469\">showed no reduction in the amount of opioid and non-opioid painkillers\u003c/a> prescribed in the three years after surgery.\u003c/p>\n\u003cp>Why? One theory about the origin of endometriosis is that it’s the result of retrograde menstruation — meaning that during menstruation, some of the shed uterine lining travels through the fallopian tubes and implants in places where it shouldn’t be. People who ascribe to this theory think hysterectomy would help but still is not a cure.\u003c/p>\n\u003cp>But other surgeons like \u003ca href=\"https://endopaedia.info/redwine.html\">David Redwine\u003c/a>, who also appears in the film, point to evidence that endometriosis tissue actually appears during embryonic development. And so removing the uterus wouldn’t affect that tissue that’s been there since birth.\u003c/p>\n\u003cp>A hysterectomy is, however, the definitive treatment for adenomyosis — a disease where tissue from the uterine lining invades the muscle wall of the uterus. Adenomyosis also causes painful menstruation and infertility, and \u003ca href=\"https://nancysnookendo.com/hysterectomy-and-endometriosis/\">many patients have both conditions\u003c/a>.\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/m28VUzDyaSs'\n title='//www.youtube.com/embed/m28VUzDyaSs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>4. Endometriosis is responsible for up to 50% of infertility,\u003c/h3>\n\u003cp>Another of the film’s subjects is \u003ca href=\"https://www.kyung.com/\">Kyung Jeon-Miranda\u003c/a>, a Brooklyn-based artist whose paintings, featured in \u003cem>Below the Belt,\u003c/em> reflect her struggles with fertility and longing for motherhood. Jeon says she was told in her early twenties that she’d never be able to conceive. But at 39, she and her husband are trying for a baby.\u003c/p>\n\u003cp>\u003ca href=\"https://www.reproductivefacts.org/news-and-publications/fact-sheets-and-infographics/endometriosis-does-it-cause-infertility/\">Endometriosis can negatively impact fertility in several ways\u003c/a> including distorting the anatomy of the pelvis, causing scarring on the fallopian tubes and ovaries, changing the hormonal environment, and altering the functioning of the immune system. Surgery to remove endometriosis and fertility treatments may increase the likelihood of a successful pregnancy.\u003c/p>\n\u003ch3>5. Most surgeons are doing endometriosis surgery wrong\u003c/h3>\n\u003cp>\u003cem>Below the Belt\u003c/em> subject Laura Cone, 28, of Saskatchewan, Canada, had four surgeries with general OB/GYNs. But her condition kept deteriorating, impacting her ability to drive and run her business. Laura’s doctors had performed ablation — where an instrument is used to incinerate visible endometriosis tissue.\u003c/p>\n\u003cp>While ablation is the most common type of endometriosis surgery, it misses tissue hidden from the naked eye. Like Cone, many patients return for repeat ablations after their symptoms resume.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I use the analogy, if you have cancer and you have a tumor, do you want someone who’s not a specialist to burn off the surface of that tumor, or do you want a specialist to go in and cut it out?” the film’s director Cohn says.\u003c/p>\n\u003cp>The gold standard method of surgery is excision, where a surgeon removes endometriosis lesions and often adjacent tissue. Studies show a \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/28456617/\">greater reduction in symptoms\u003c/a> after excision compared with ablation, and fewer patients come back for repeat surgeries.\u003c/p>\n\u003cp>While many OB/GYNs who see patients for routine care perform ablation, excision surgery is done by surgeons with specialized training. And many of these specialists do not accept health insurance.\u003c/p>\n\u003cp>As the film explains, the medical billing codes for the two types of surgery are the same — even though ablation is typically performed in under an hour, while excision can take four hours or more. “You have a whole staff who are depending on you to pay their salaries and you have to pay the light bill,” says Ted Anderson, past president of ACOG, in the film. “There are a lot of economic pressures as well as do-the-right-thing-pressures.”\u003c/p>\n\u003cp>In the film, Cone’s father says he took out a second mortgage to raise the $25,000 needed to pay for his daughter’s excision surgery in the U.S.\u003c/p>\n\u003cp>There are surgeons qualified to do excision at teaching hospitals, Cohn points out, who do accept health insurance.\u003c/p>\n\u003ch3>6. To get proper care, patients need to take their health into their own hands.\u003c/h3>\n\u003cp>Both Laura Cone and Jenneh Rishe learned about excision surgery from other patients on the internet. Facebook groups like \u003ca href=\"https://www.facebook.com/groups/289078084538377\">Endometropolis \u003c/a>and \u003ca href=\"https://www.facebook.com/groups/418136991574617\">Nancy’s Nook\u003c/a> provide forums for patients to ask questions, compare experiences, recommend doctors, and even share surgery photos. Endometriosis specialists and nurses often answer questions in these groups as well. TikTok videos about endometriosis\u003ca href=\"https://www.newsweek.com/below-belt-endometriosis-movie-documentary-director-interview-1710510\"> have over 1 billion views\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you’re not getting the answers that you need and, and want from a health care provider, you’re going to go somewhere else,” says Cohn. “Of course there’s misinformation everywhere and that includes online … But you can do some digging and try to put the pieces together and learn from other people who have been in your position,” she says.\u003c/p>\n\u003cp>Cohn also encourages patients to ask pointed questions in their doctors’ appointments, especially when considering surgery. She recommends asking the surgeon if they do excision, and how frequently they perform endometriosis surgery; as well as talking to other patients who have had surgeries performed by the specialist you’re working with.\u003c/p>\n\u003cp>In general, the earlier a patient receives excision surgery, the less they will suffer, because the symptoms tend to get worse over the female reproductive years. Endometriosis patients may find relief for their symptoms by many means, including \u003ca href=\"https://health.clevelandclinic.org/endometriosis-diet/\">changes to diet\u003c/a> and exercise, and receiving\u003ca href=\"https://www.sideeffectspublicmedia.org/personal-health/2013-12-29/can-abdominal-massage-help-painful-menstruation\"> massage\u003c/a> and \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5659600/\">acupuncture\u003c/a>. But experts say only excision surgery can halt progression of the disease.\u003c/p>\n\u003ch3>7. A bipartisan effort is working to secure more funding for endometriosis research.\u003c/h3>\n\u003cp>Emily Hatch, the youngest of the film’s subjects, is a high school senior from Massachusetts whose endometriosis threatens her ability to attend college. In one scene, Emily’s mother is on the phone with then Utah Senator Orrin Hatch — Emily’s grandfather. He says he wants to help.\u003c/p>\n\u003cp>Emily Hatch and her mother along with Project Endo, the organization behind \u003cem>Below the Belt,\u003c/em> worked with Senators Hatch and Sen. Elizabeth Warren to get \u003ca href=\"https://www.projectendo.org/research-funding\">$9.2 million in funding from the Department of Defense allocated for endometriosis research\u003c/a> in 2018. After Hatch’s retirement in 2019, Sen. Mitt Romney has worked alongside Warren to press for funding from the National Institutes of Health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This March, Warren and Romney \u003ca href=\"https://thehill.com/blogs/in-the-know/3881454-senate-screening-of-below-the-belt-spotlights-fight-against-endometriosis/\">hosted a screening of the documentary\u003c/a> before the Senate. Hillary Clinton is one of the film’s executive producers.\u003c/p>\n\u003cp>Cohn says more research funding is sorely needed to address the disease’s many unknowns. “I hope that we can do things like trying to find … what is actually causing endometriosis. Because until we find that out, it’s hard to really find ways to treat it. I hope that we can find a non-invasive diagnostic tool, so that women don’t have to go years and years without understanding what is going on in their body. I hope that research can yield non-hormonal treatment options,” Cohn says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Andrea Muraskin is a podcast producer and writer living in Boston. She writes the NPR Health newsletter, and is the host and creator of the podcast\u003c/em>\u003ca href=\"https://www.andreamuraskin.com/lady-parts-podcast\">\u003cem> LADYPARTS: Taking a Wide View on Women’s Health\u003c/em>\u003c/a>\u003cem>. \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=Endometriosis%2C+a+painful+and+often+overlooked+disease%2C+gets+attention+in+a+new+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"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"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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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.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"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",
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"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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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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