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"title": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M",
"headTitle": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M | KQED",
"content": "\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yixG8pfncOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>[aside postid='pop_50308']The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>[aside postid='pop_103268']The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\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=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\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/yixG8pfncOs'\n title='//www.youtube.com/embed/yixG8pfncOs'\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>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\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=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’",
"headTitle": "Harrison Ford Gets a Swashbuckling Sendoff in ‘Indiana Jones and the Dial of Destiny’ | KQED",
"content": "\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>[aside postid='arts_13930807']Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQfMbSe7F2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>[aside postid='arts_13930502']This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>[aside postid='arts_13883486']I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodbyes don’t tend to mean much in the Hollywood franchise system. Death isn’t a reliable end for characters or, lately, even actors. Technology, nostalgia and the often-inflated value of brands and IP have created a nightmarish cycle of resurrection and regurgitation, curdling what we love most.\u003c/p>\n\u003cp>And yet when someone like Harrison Ford says he’s hanging up Indiana Jones’ fedora, for better or worse, you believe him. \u003cem>Indiana Jones\u003c/em> producer Frank Marshall has also said that they won’t recast the character, which seems more dubious and, though well-intentioned, something he won’t be able to guarantee. All it takes is a new executive demanding a reboot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that it would ever really work, though. Any self-respecting movie fan knows the truth: The magic of Indiana Jones belongs wholly to Harrison Ford. Apparently, he doesn’t even necessarily need Steven Spielberg behind the camera, though, to be fair, the foundation was well-laid for a veteran like James Mangold to step in. But there is no Indy — none that we care about anyway —without Ford.\u003c/p>\n\u003cp>In this way, it’s hard not to go into \u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, in theaters Friday, without a sense of melancholy — not exactly the ideal state of mind for what should be, and mostly is, a fun summer blockbuster. But it certainly adds a poignancy to the whole endeavor whether the film merits it or 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/eQfMbSe7F2g'\n title='//www.youtube.com/embed/eQfMbSe7F2g'\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>If only it didn’t start with that pesky de-aging technology (the best it’s ever looked but it remains unsettling), giving us a 45-year-old Indiana Jones doing some of the wildest stunts we’ve ever seen our beloved archeology professor attempt — atop a speeding train to boot. This sequence is ostensibly there to introduce the film’s MacGuffin, Archimedes Antikythera, a real celestial calculation machine with extraordinary predictive capabilities that in the film is bestowed with some otherworldly powers.\u003c/p>\n\u003cp>But we know the real reason: It’s there to let us gaze at that familiar face and to go on one last adventure with the Indy we grew up with, before being thrust back reality with a nearly 80-year-old Ford (he’s 81 in July) playing a 70-something Indy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This isn’t inherently sad, but Dr. Jones is certainly reintroduced in the most unglamorous way possible: Sleeping on a reclining chair in a sad New York apartment, a glass of something alcoholic in his hand and threadbare boxer shorts on his person. He’s depression personified, retiring from the university where the kids barely pay attention to him anyway (long gone are the “I love you” eyelids), estranged from Karen Allen’s Marion and watching the world go space crazy around him.\u003c/p>\n\u003cp>We’ll have to see him work back up to his adventuresome self. No training montages required, thankfully, just a plane ticket, his classic uniform (still fits!) and his old improvisational spirit. The cumbersome plot (script is credited to Jez Butterworth, John-Henry Butterworth, David Koepp and Mangold) strains to justify and give meaning to the search for the Antikythera: The FBI is on the hunt for it, as is Nazi scientist Jürgen Voller (Mads Mikkelsen) for whom the war hasn’t ended, and the daughter (Phoebe Waller-Bridge) of Indy’s late partner Basil (Toby Jones) who was driven mad by the gadget. It’s a bit much, as are many of the overly elaborate and strangely murky-looking action sequences from the train in 1944 to a deep-sea diving sequence with killer eels. The movie hits its action high notes when it sticks to the tactile classics, like a brilliantly executed rickshaw chase in Tangier.\u003c/p>\n\u003cfigure id=\"attachment_13930945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png\" alt=\"A slender white woman in a red silk shirt stands in a busy gambling den that resembles a bazaar. She looks confident and self assured despite being surrounded by shady characters.\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-27-at-10.51.57-AM.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Waller-Bridge in ‘Indiana Jones and the Dial of Destiny.’ \u003ccite>(Lucasfilm Ltd, via Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Waller-Bridge’s Helena is an enormously enjoyable character, too — a brilliant archeologist herself who’s chosen a more glamorous, dangerous and decidedly black market kind of existence, selling stolen antiquities to the world’s wealthiest and working her way out of debt. She’s introduced as a wild card and a lot of the tension is derived from whether Indy should trust her. It’s a very good non-romantic pairing of sharp-witted old souls, a generation apart. But you’d think in an almost two-and-a-half-hour film there might have been more time for one of our returning favorites, like John Rhys-Davies Sallah (he does get a few good moments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m not sure anyone had an especially burning need to know what Indiana Jones was up to lately, but at least it gives everyone a chance to end on a higher note than \u003ca href=\"https://www.kqed.org/arts/22759/indiana_jones_and_the_kingdom_of_the_crystal_skull\">\u003cem>Kingdom of the Crystal Skull\u003c/em>\u003c/a>. Or maybe Ford just needed some closure on one of his iconic characters so that everyone will stop asking him about them.\u003c/p>\n\u003cp>\u003cem>Indiana Jones and the Dial of Destiny\u003c/em> might not be \u003cem>Raiders\u003c/em> or \u003cem>The Last Crusade\u003c/em> but it’s solid, swashbuckling summer fare and a dignified sendoff to one of cinema’s most flawless castings.\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>‘Indiana Jones and the Dial of Destiny’ is released June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be",
"headTitle": "Jennifer Lawrence’s New Raunchy Teen Comedy Is Better Than It Should Be | KQED",
"content": "\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13930502']As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P15S6ND8kbQ\u003c/p>\n\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>[aside postid='arts_13930468']Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>[aside postid='arts_13930224']Stupnitsky’s \u003cem>Good Boys\u003c/em> cleverly shrunk a familiar genre — the house-party movie — into an R-rated romp for sixth-graders. But \u003cem>No Hard Feelings\u003c/em> can feel stuck in adolescence. There are times here where you’re glad Lawrence is at least getting to act with adults. (Natalie Morales and Scott MacArthur are good as Maddie’s friends.) Lawrence could have easily carried a comedy that’s just on Maddie’s level, without the amateur-escort-for-a-kid storyline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>No Hard Feelings\u003c/em> does, though, smartly dig into a generation gap in inverting the genre’s standard beats. Percy — and many of his classmates — are depicted as too tethered to their phones and too delicate to perceived offenses. In one scene, Maddie tears down the upstairs hall of a high-school party. Behind every door, there are kids not making out but calmly texting or playing video games — a portrait of Gen Z with plenty of basis in fact. Incredulous, Maddie exclaims: “Doesn’t anyone f–k anymore?”\u003c/p>\n\n",
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"excerpt": "‘No Hard Feelings’ is totally ridiculous, but finally gives Lawrence a platform for the slapstick humor she’s so good at.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a saner world, we would have already had a dozen Jennifer Lawrence comedies.\u003c/p>\n\u003cp>When aliens arrive they will surely go directly to IMDB to survey her filmography and wonder why one of Hollywood’s funniest and most naturally charismatic stars spent the first decade of her career in dystopias, action movies and \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">whatever it is you call \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">Mother!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As if to make up for lost time, Lawrence has in \u003cem>No Hard Feelings\u003c/em> made the kind of R-rated teen comedy that has usually launched young actors. She plays a 32-year-old Montauk Uber driver who, desperate for money after her car is towed, is hired by the wealthy parents (Matthew Broderick, Laura Benanti) of a timid and sheltered 19-year-old (newcomer Andrew Barth Feldman) to take his virginity before he heads off to Princeton.\u003c/p>\n\u003cp>We’ve, of course, had plenty of movies about teenagers trying to get laid for the first time. But \u003cem>No Hard Feelings\u003c/em>, directed and co-written by Gene Stupnitsky, may be the first in which the teen in question has seemingly no desire to do so. He’s heterosexual, his parents are sure based on his browsing history.\u003c/p>\n\u003cp>But when Maddie Barker (Lawrence) turns up in a tight pink dress and heels at the Long Island animal shelter Percy (Feldman) works at, he responds mostly with prickliness and fear to her come-ons. The encounter ends with Percy spraying Maddie with mace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, a 19-year-old rejecting Jennifer Lawrence like this is potentially a good way to sever any possible connection the audience has with one of your main characters. It’s like having him smack a child. Some things are unforgivable. Maddie and Percy go on a series of increasingly intimate dates, and Percy vows to eventually “put out.”\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/P15S6ND8kbQ'\n title='//www.youtube.com/embed/P15S6ND8kbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The basis of \u003cem>No Hard Feelings\u003c/em>, all around, is fairly untenable. Even less believable than Percy’s response to Maddie is her involvement in this scheme in the first place. In the movie’s opening scenes, her car is towed away by a ghosted ex-boyfriend (Ebon Moss-Bachrach of \u003cem>The Bear\u003c/em>). In the uber-rich environs of Montauk, Maddie is trying to hold onto her house — the one she grew up in — while foreclosure lurks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maddie, forced to rollerblade to her bartending job, may be financially desperate. But, say what you will about the gig economy, it offers plenty of alternatives to earning money besides sleeping with teenagers who cringe when the restaurant doesn’t have Pepsi.\u003c/p>\n\u003cp>And yet, \u003cem>No Hard Feelings\u003c/em> works better than it ought to. The preposterousness of the set-up is, naturally, part of the joke. Feldman, who here resembles the awkward Linguini of \u003cem>Ratatouille\u003c/em> brought to life, brings more sensitivity to the role than you would expect, and flashes of good comic timing. So uncomfortable is he on their dates that at the sound of a break in a nearby game of pool, he jumps like a frightened cat. Skinny dipping in the ocean, he doggy paddles.\u003c/p>\n\u003cp>And while the role forces Lawrence into raunchy situations that could easily be said to be beneath her, \u003cem>No Hard Feelings\u003c/em> gives her plenty of room to showcase her talent at upending traditional ideas of Hollywood glamour. At every moment, she delights in undercutting her own sexiness; it’s not every A-lister who’s willing to film a beach brawl in the nude. Lawrence — Hollywood screenwriters take note — is more at home parodying the sex bomb than being one.\u003c/p>\n\u003cp>Yet while \u003cem>No Hard Feelings\u003c/em> finally gives Lawrence (also an executive producer) a platform for some of the slapstick humor she’s so good at, it also feels like she’s been inserted into the framework of a quite male coming-of-age rom-com/fantasy. Big-screen comedies are dishearteningly few and far between these days, so it’s temping to applaud that \u003cem>No Hard Feelings\u003c/em>, which opens in theaters Friday, simply exists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stupnitsky’s \u003cem>Good Boys\u003c/em> cleverly shrunk a familiar genre — the house-party movie — into an R-rated romp for sixth-graders. But \u003cem>No Hard Feelings\u003c/em> can feel stuck in adolescence. There are times here where you’re glad Lawrence is at least getting to act with adults. (Natalie Morales and Scott MacArthur are good as Maddie’s friends.) Lawrence could have easily carried a comedy that’s just on Maddie’s level, without the amateur-escort-for-a-kid storyline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>No Hard Feelings\u003c/em> does, though, smartly dig into a generation gap in inverting the genre’s standard beats. Percy — and many of his classmates — are depicted as too tethered to their phones and too delicate to perceived offenses. In one scene, Maddie tears down the upstairs hall of a high-school party. Behind every door, there are kids not making out but calmly texting or playing video games — a portrait of Gen Z with plenty of basis in fact. Incredulous, Maddie exclaims: “Doesn’t anyone f–k anymore?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’",
"headTitle": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’ | KQED",
"content": "\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\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>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\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/Gmmq7sVA0Jo'\n title='//www.youtube.com/embed/Gmmq7sVA0Jo'\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>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\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>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Racist Horror Tropes Are the First to Die in the Slasher Comedy ‘The Blackening’",
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"content": "\u003cp>When Keenen Ivory Wayans’ \u003cem>Scary Movie \u003c/em>became a huge hit more than 20 years ago, the trope about Black characters in slasher flicks — that they’re usually the first to die or rarely survive until the very end — was already decades old, and still going strong. \u003ca href=\"https://www.youtube.com/watch?v=1N6u4WeDggQ#t=01m32s\">One scene\u003c/a> in the spoof directly references \u003cem>Scream 2\u003c/em>, a movie released just three years earlier, where Jada Pinkett Smith’s character is \u003ca href=\"https://www.youtube.com/watch?v=2OehsddPh3Y&t=0s\">stabbed to death\u003c/a> in front of a movie theater audience before the opening credits have even rolled.\u003c/p>\n\u003cp>[aside postid='pop_6114']The DNA of \u003cem>Scary Movie \u003c/em>can be peeped in \u003cem>The Blackening\u003c/em>, a very funny new horror comedy directed by Tim Story. Like its cinematic ancestor, there’s also a direct reference to Pinkett Smith’s \u003cem>Scream 2 \u003c/em>character and plentiful jokes and gags poking fun at unique aspects of Black culture. Yet much has changed over the last few years as Black creators have found more opportunities and mainstream success exploring Blackness through a horror lens. Black characters are all over this genre now, even triumphing over the bodily threats they face from their horrific predators. \u003cem>The Blackening\u003c/em> acknowledges this and thus poses an apt and ingenious question as its premise: What happens when every main character in the slasher flick is Black?\u003c/p>\n\u003cp>A group of friends comes together for a Juneteenth weekend getaway in a cabin in the woods, bringing with them years’ worth of camaraderie and, in some cases, unresolved tensions stretching back to their college days. Lisa (Antoinette Robertson) and Nnamdi (Sinqua Walls) are exes secretly hooking up again — much to the chagrin of Lisa’s gay best friend Dewayne (Dewayne Perkins, also a co-writer of the screenplay), who can’t forgive Nnamdi for treating her terribly when they were dating.\u003c/p>\n\u003cp>[aside postid='arts_13921951']Allison (Grace Byers) is the biracial friend of the group who seems to have (white) daddy issues; Shanika (X Mayo) is the flamboyant lush; King (Melvin Gregg) has a shady past but appears to have settled comfortably down into Buppie life; and Clifton (Jermaine Fowler) is the nerdy, socially awkward Trump supporter and outsider who nobody else really vibes with.\u003c/p>\n\u003cp>They pop some party drugs and get in maybe half of a game of Spades before things start going sideways. The power goes out, and they stumble upon the house’s game room, which features The Blackening, a trivia board game with the terrifying image of a Sambo as its centerpiece. (“Jim Crow Monopoly!” cracks one of the characters.) Suddenly, a creepy masked figure appears on an old black-and-white TV, warning them that if they refuse to play the game, their other friend Morgan (Yvonne Orji) — who arrived a day early and is now being held hostage in an undisclosed part of the house — will die.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiRCJR4ToY\u003c/p>\n\u003cp>It’s a simple enough setup that’s based on a \u003ca href=\"https://www.youtube.com/watch?v=QOPwQdDu-D8\">sketch\u003c/a> from Perkins’ improv comedy group 3Peat — and there’s a version of \u003cem>The Blackening \u003c/em>that could easily have suffered from the problem of there not being enough \u003cem>there there\u003c/em> to sustain a feature-length film, like so many insufferable SNL skits-turned-movies. But in adapting it for the big screen, Perkins and co-writer Tracy Oliver (\u003cem>Girls Trip\u003c/em>) manage the tricky balancing act of keeping the laughs flowing steadily \u003cem>and \u003c/em>crafting a believable narrative arc.\u003c/p>\n\u003cp>[aside postid='arts_13923159']In a breezy 90 minutes, the crew’s dynamic is clearly established and challenged as grudges are resurfaced, crossbows get flung, and bodies start dropping. The delight is derived from the highly specific comedic details, which consistently manage to take well-worn observations about Black culture — a fraught relationship with the TV show \u003cem>Friends\u003c/em> and how certain signifiers might mark some people as “Blacker” than others, for starters — and stretch them in a myriad of unexpected directions. The ensemble gels well together, settling into a comfortable pattern that reflects the rat-a-tat flow of a viral, meme-filled thread that hasn’t yet drifted from the insular space of Black Twitter and into the wider internet world. (The oft-repeated, melodic inflection that’s deployed every time a character colloquially uses the N-word is itself a thing of comic beauty.)\u003c/p>\n\u003cp>Most refreshing is that these characters are far and away among the smartest would-be victims of a deranged movie stalker. That doesn’t mean less-than-ideal choices aren’t made sometimes or that everyone makes it out alive — you can place your bets ahead of time if you’d like — but it seems safe to say many Black viewers have yelled at the screen for the preposterous decisions made in countless movies like this one. \u003cem>The Blackening\u003c/em> will be a different experience. When Dewayne carefully and nervously shut a door that was mysteriously flung open, I felt proud — no one in their right mind is going to willingly peek out to see what’s going on outside while staying in a cabin in the woods at night. Nope, we’re good on that.\u003c/p>\n\u003cfigure id=\"attachment_13930471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg\" alt=\"Four Black men and three Black women gather together, all watching something unseen with stunned expressions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, and Xochitl Mayo as Shanika in ‘The Blackening.’ \u003ccite>(Glen Wilson/ Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>There’s a twist that feels at least partially indebted to the spirit of \u003cem>Get Out\u003c/em> in that it digs a bit deeper on a sociocultural level than most spoofs ever aspire to. (Consider this the urbane, Hillman grad play-cousin to the \u003cem>Scary Movie\u003c/em> franchise’s juvenile middle schooler.) It works while maintaining the film’s edge and silliness until the very end. \u003cem>The Blackening \u003c/em>meets the moment, and it doesn’t feel like a spoiler to say that it boldly imagines a world too few horror movies dared to depict for years — one where Blackness survives and triumphs.\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=Racist+horror+tropes+are+the+first+to+die+in+the+slasher+comedy+%27The+Blackening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Keenen Ivory Wayans’ \u003cem>Scary Movie \u003c/em>became a huge hit more than 20 years ago, the trope about Black characters in slasher flicks — that they’re usually the first to die or rarely survive until the very end — was already decades old, and still going strong. \u003ca href=\"https://www.youtube.com/watch?v=1N6u4WeDggQ#t=01m32s\">One scene\u003c/a> in the spoof directly references \u003cem>Scream 2\u003c/em>, a movie released just three years earlier, where Jada Pinkett Smith’s character is \u003ca href=\"https://www.youtube.com/watch?v=2OehsddPh3Y&t=0s\">stabbed to death\u003c/a> in front of a movie theater audience before the opening credits have even rolled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The DNA of \u003cem>Scary Movie \u003c/em>can be peeped in \u003cem>The Blackening\u003c/em>, a very funny new horror comedy directed by Tim Story. Like its cinematic ancestor, there’s also a direct reference to Pinkett Smith’s \u003cem>Scream 2 \u003c/em>character and plentiful jokes and gags poking fun at unique aspects of Black culture. Yet much has changed over the last few years as Black creators have found more opportunities and mainstream success exploring Blackness through a horror lens. Black characters are all over this genre now, even triumphing over the bodily threats they face from their horrific predators. \u003cem>The Blackening\u003c/em> acknowledges this and thus poses an apt and ingenious question as its premise: What happens when every main character in the slasher flick is Black?\u003c/p>\n\u003cp>A group of friends comes together for a Juneteenth weekend getaway in a cabin in the woods, bringing with them years’ worth of camaraderie and, in some cases, unresolved tensions stretching back to their college days. Lisa (Antoinette Robertson) and Nnamdi (Sinqua Walls) are exes secretly hooking up again — much to the chagrin of Lisa’s gay best friend Dewayne (Dewayne Perkins, also a co-writer of the screenplay), who can’t forgive Nnamdi for treating her terribly when they were dating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Allison (Grace Byers) is the biracial friend of the group who seems to have (white) daddy issues; Shanika (X Mayo) is the flamboyant lush; King (Melvin Gregg) has a shady past but appears to have settled comfortably down into Buppie life; and Clifton (Jermaine Fowler) is the nerdy, socially awkward Trump supporter and outsider who nobody else really vibes with.\u003c/p>\n\u003cp>They pop some party drugs and get in maybe half of a game of Spades before things start going sideways. The power goes out, and they stumble upon the house’s game room, which features The Blackening, a trivia board game with the terrifying image of a Sambo as its centerpiece. (“Jim Crow Monopoly!” cracks one of the characters.) Suddenly, a creepy masked figure appears on an old black-and-white TV, warning them that if they refuse to play the game, their other friend Morgan (Yvonne Orji) — who arrived a day early and is now being held hostage in an undisclosed part of the house — will die.\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/moiRCJR4ToY'\n title='//www.youtube.com/embed/moiRCJR4ToY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a simple enough setup that’s based on a \u003ca href=\"https://www.youtube.com/watch?v=QOPwQdDu-D8\">sketch\u003c/a> from Perkins’ improv comedy group 3Peat — and there’s a version of \u003cem>The Blackening \u003c/em>that could easily have suffered from the problem of there not being enough \u003cem>there there\u003c/em> to sustain a feature-length film, like so many insufferable SNL skits-turned-movies. But in adapting it for the big screen, Perkins and co-writer Tracy Oliver (\u003cem>Girls Trip\u003c/em>) manage the tricky balancing act of keeping the laughs flowing steadily \u003cem>and \u003c/em>crafting a believable narrative arc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a breezy 90 minutes, the crew’s dynamic is clearly established and challenged as grudges are resurfaced, crossbows get flung, and bodies start dropping. The delight is derived from the highly specific comedic details, which consistently manage to take well-worn observations about Black culture — a fraught relationship with the TV show \u003cem>Friends\u003c/em> and how certain signifiers might mark some people as “Blacker” than others, for starters — and stretch them in a myriad of unexpected directions. The ensemble gels well together, settling into a comfortable pattern that reflects the rat-a-tat flow of a viral, meme-filled thread that hasn’t yet drifted from the insular space of Black Twitter and into the wider internet world. (The oft-repeated, melodic inflection that’s deployed every time a character colloquially uses the N-word is itself a thing of comic beauty.)\u003c/p>\n\u003cp>Most refreshing is that these characters are far and away among the smartest would-be victims of a deranged movie stalker. That doesn’t mean less-than-ideal choices aren’t made sometimes or that everyone makes it out alive — you can place your bets ahead of time if you’d like — but it seems safe to say many Black viewers have yelled at the screen for the preposterous decisions made in countless movies like this one. \u003cem>The Blackening\u003c/em> will be a different experience. When Dewayne carefully and nervously shut a door that was mysteriously flung open, I felt proud — no one in their right mind is going to willingly peek out to see what’s going on outside while staying in a cabin in the woods at night. Nope, we’re good on that.\u003c/p>\n\u003cfigure id=\"attachment_13930471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930471\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg\" alt=\"Four Black men and three Black women gather together, all watching something unseen with stunned expressions.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/blackening-unit-211026-00336rc2-076391b6a3761be53b09e7fcc4e9d60ceba58e10-scaled-e1686765586708.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melvin Gregg as King, Grace Byers as Allison, Antoinette Robertson as Lisa, Sinqua Walls as Nnamdi, Jermaine Fowler as Clifton, Dewayne Perkins as Dewayne, and Xochitl Mayo as Shanika in ‘The Blackening.’ \u003ccite>(Glen Wilson/ Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>There’s a twist that feels at least partially indebted to the spirit of \u003cem>Get Out\u003c/em> in that it digs a bit deeper on a sociocultural level than most spoofs ever aspire to. (Consider this the urbane, Hillman grad play-cousin to the \u003cem>Scary Movie\u003c/em> franchise’s juvenile middle schooler.) It works while maintaining the film’s edge and silliness until the very end. \u003cem>The Blackening \u003c/em>meets the moment, and it doesn’t feel like a spoiler to say that it boldly imagines a world too few horror movies dared to depict for years — one where Blackness survives and triumphs.\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=Racist+horror+tropes+are+the+first+to+die+in+the+slasher+comedy+%27The+Blackening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in \u003cem>Blue Jean\u003c/em>, a quietly complex portrait of compartmentalization and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13929913']In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mGGRNmIU7fc\u003c/p>\n\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\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/mGGRNmIU7fc'\n title='//www.youtube.com/embed/mGGRNmIU7fc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flamin’ Hot Cheetos Get a Loaded Origin Story — One That’s Worth the Crunch",
"headTitle": "Flamin’ Hot Cheetos Get a Loaded Origin Story — One That’s Worth the Crunch | KQED",
"content": "\u003cp>Flamin’ Hot Cheetos get an origin story worthy of any Marvel superhero with Hulu’s totally engrossing \u003cem>Flamin’ Hot\u003c/em>. It’s the tale of how a struggling Mexican American janitor came up with the idea of adding spice to the cornmeal, forever saving after-school snacking.\u003c/p>\n\u003cp>Is it true? Probably not. Don’t let that stop you.\u003c/p>\n\u003cp>You’ll wish \u003cem>Flamin’ Hot\u003c/em> was accurate because it’s a winning tale of perseverance, family love, proud heritage and blue-collar success, told with a wink, some Cheetos dust and a ton of love by Eva Longoria, in her directorial debut.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=it7sNRloq-A\u003c/p>\n\u003cp>Jesse Garcia stars as Richard Montañez, a one-time Frito-Lay floor-sweeper in southern California who convinced his bosses to make a snack that celebrates the flavors of Mexico despite a seven-layer dip of skeptics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“New products take years to develop, cost millions to launch and they do not get created by blue-collar hoodlums, who probably can’t spell hoodlum,” our hero is told.\u003c/p>\n\u003cp>Nevertheless, Montañez persists, cracking the Latino market and repairing his relationship with his abusive father along the way. “I’m the guy who helped bring the world the most popular snack it’s ever seen,” he says in a voice-over.\u003c/p>\n\u003cp>[aside postid='arts_13913985']It’s an unlikely story, for sure. No, really. It’s unlikely. \u003cem>The Los Angeles Times\u003c/em> has published allegations that Montañez fabricated his role in the snack’s creation and Frito-Lay says he “was not involved.”\u003c/p>\n\u003cp>But Longoria and the screenplay by Lewis Colick and Linda Yvette Chávez — based on Montañez memoir — will have you cheering when the gnarled red snacks finally zip along on an assembly line and you’ll be ready to gleefully fist-bump Montañez, played understatedly but with deep soul by Garcia.\u003c/p>\n\u003cp>This is more than just a snack-version \u003cem>Rocky\u003c/em> story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.\u003c/p>\n\u003cfigure id=\"attachment_13930230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png\" alt=\"A man sits slumped on a park bench absent-mindedly staring at the street corn in his right hand. Two small boys sit either side of him, also eating corn. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM.png 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Hunter Jones, Jesse Garcia and Brice Gonzalez in a scene from ‘Flamin’ Hot.’ \u003ccite>(Emily Aragones/Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one heartbreaking early scene, Montañez — so poor he waters down the milk for his kids and uses chewing gum to seal holes in their shoes — is wide-eyed at the Frito-Lay factory until he notices all the overcooked chips are tossed. “People are always trying to throw away the brown ones,” he says.\u003c/p>\n\u003cp>The filmmakers enliven their story with wonderful flights of fancy, like when we see Montañez lose it and beat up a manager with a mop after being called Paco. “Nah, just kidding,” he says in the voice over. ”What you think? It was my first week on the job.”\u003c/p>\n\u003cp>To show the passage of time during the Reagan administration, they’ve also cleverly got a man on the factory floor holding a box reading “1985,” the extruder pumps out “1986” and forklifts carrying boxes that read “1987” and “1988.”\u003c/p>\n\u003cp>[aside postid='arts_13929913']There are a few references to Frito-Lay scientists in the Midwest also working on a spicy flavor, but this is strictly a fist-in-the-air portrayal of Montañez alone, set to a soundtrack of Latin artists like Santana, Los Lobos and Ozomatli.\u003c/p>\n\u003cp>His heroic arc is more than a little unbelievable, especially when he taps his former drug-dealing pals to start handing out free bags of chips like pushers, and for the many times he jumps up on a piece of factory equipment to deliver a \u003cem>Dead Poets Society\u003c/em>-like speech.\u003c/p>\n\u003cp>Dennis Haysbert as a gruff engineer, Annie Gonzalez as Montañez’s loving wife and Tony Shalhoub as the CEO of Frito-Lay all add welcome flavor notes.\u003c/p>\n\u003cp>It’s the montages that really shine, like the moment in a park when Montañez, eating elote and watching everyone put hot sauce on their food, gets a vision of a spicy snack. “I had been searching for an answer. Or a door to open. And there it was all around me. It had been there the entire time,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png\" alt=\"A small boy sits at a round dining table, a bowl of red snacks in front of him. As he bites into one, his parents and brother watch closely.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM.png 1430w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brice Gonzalez, Annie Gonzalez, Jesse Garcia and Hunter Jones. \u003ccite>(Emily Aragones/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the sequence when he and his family try every chile combo — poblano, pasilla, serrano, guajillo and habanero included — until they find the right formula, often hovering around their youngest kid as he samples a chip and gives them the green light.\u003c/p>\n\u003cp>The final product is credited with opening the door to cool new convenience store flavors and for U.S. corporations to finally respect the Latino market. That’s a lot of stuff to put in a bag of chips, even if it’s all made up. But it’s so fun to watch. It burns so good.\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>‘Flamin’ Hot’ is out on June 9, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Flamin’ Hot Cheetos get an origin story worthy of any Marvel superhero with Hulu’s totally engrossing \u003cem>Flamin’ Hot\u003c/em>. It’s the tale of how a struggling Mexican American janitor came up with the idea of adding spice to the cornmeal, forever saving after-school snacking.\u003c/p>\n\u003cp>Is it true? Probably not. Don’t let that stop you.\u003c/p>\n\u003cp>You’ll wish \u003cem>Flamin’ Hot\u003c/em> was accurate because it’s a winning tale of perseverance, family love, proud heritage and blue-collar success, told with a wink, some Cheetos dust and a ton of love by Eva Longoria, in her directorial debut.\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/it7sNRloq-A'\n title='//www.youtube.com/embed/it7sNRloq-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse Garcia stars as Richard Montañez, a one-time Frito-Lay floor-sweeper in southern California who convinced his bosses to make a snack that celebrates the flavors of Mexico despite a seven-layer dip of skeptics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an unlikely story, for sure. No, really. It’s unlikely. \u003cem>The Los Angeles Times\u003c/em> has published allegations that Montañez fabricated his role in the snack’s creation and Frito-Lay says he “was not involved.”\u003c/p>\n\u003cp>But Longoria and the screenplay by Lewis Colick and Linda Yvette Chávez — based on Montañez memoir — will have you cheering when the gnarled red snacks finally zip along on an assembly line and you’ll be ready to gleefully fist-bump Montañez, played understatedly but with deep soul by Garcia.\u003c/p>\n\u003cp>This is more than just a snack-version \u003cem>Rocky\u003c/em> story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.\u003c/p>\n\u003cfigure id=\"attachment_13930230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png\" alt=\"A man sits slumped on a park bench absent-mindedly staring at the street corn in his right hand. Two small boys sit either side of him, also eating corn. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.48.47-AM.png 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Hunter Jones, Jesse Garcia and Brice Gonzalez in a scene from ‘Flamin’ Hot.’ \u003ccite>(Emily Aragones/Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one heartbreaking early scene, Montañez — so poor he waters down the milk for his kids and uses chewing gum to seal holes in their shoes — is wide-eyed at the Frito-Lay factory until he notices all the overcooked chips are tossed. “People are always trying to throw away the brown ones,” he says.\u003c/p>\n\u003cp>The filmmakers enliven their story with wonderful flights of fancy, like when we see Montañez lose it and beat up a manager with a mop after being called Paco. “Nah, just kidding,” he says in the voice over. ”What you think? It was my first week on the job.”\u003c/p>\n\u003cp>To show the passage of time during the Reagan administration, they’ve also cleverly got a man on the factory floor holding a box reading “1985,” the extruder pumps out “1986” and forklifts carrying boxes that read “1987” and “1988.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are a few references to Frito-Lay scientists in the Midwest also working on a spicy flavor, but this is strictly a fist-in-the-air portrayal of Montañez alone, set to a soundtrack of Latin artists like Santana, Los Lobos and Ozomatli.\u003c/p>\n\u003cp>His heroic arc is more than a little unbelievable, especially when he taps his former drug-dealing pals to start handing out free bags of chips like pushers, and for the many times he jumps up on a piece of factory equipment to deliver a \u003cem>Dead Poets Society\u003c/em>-like speech.\u003c/p>\n\u003cp>Dennis Haysbert as a gruff engineer, Annie Gonzalez as Montañez’s loving wife and Tony Shalhoub as the CEO of Frito-Lay all add welcome flavor notes.\u003c/p>\n\u003cp>It’s the montages that really shine, like the moment in a park when Montañez, eating elote and watching everyone put hot sauce on their food, gets a vision of a spicy snack. “I had been searching for an answer. Or a door to open. And there it was all around me. It had been there the entire time,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png\" alt=\"A small boy sits at a round dining table, a bowl of red snacks in front of him. As he bites into one, his parents and brother watch closely.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-07-at-11.43.42-AM.png 1430w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brice Gonzalez, Annie Gonzalez, Jesse Garcia and Hunter Jones. \u003ccite>(Emily Aragones/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the sequence when he and his family try every chile combo — poblano, pasilla, serrano, guajillo and habanero included — until they find the right formula, often hovering around their youngest kid as he samples a chip and gives them the green light.\u003c/p>\n\u003cp>The final product is credited with opening the door to cool new convenience store flavors and for U.S. corporations to finally respect the Latino market. That’s a lot of stuff to put in a bag of chips, even if it’s all made up. But it’s so fun to watch. It burns so good.\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>‘Flamin’ Hot’ is out on June 9, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Elliot Page Shares Struggles and Former Selves in Engaging New Memoir",
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"content": "\u003cp>Reading \u003cem>Pageboy,\u003c/em> Elliot Page’s memoir, I found myself hoping and praying that the world might treat queer kids with more kindness today than it did when the actor was growing up.\u003c/p>\n\u003cp>“Dennis, what are you gonna do if Ellen’s a dyke?” Page recalls his grandmother asking his father, knowing full well that Page was in the room.\u003c/p>\n\u003cp>At six years old, when Page asked his mom if he could be a boy, she matter-of-factly responded: “No, hon, you can’t, you’re a girl … But you can do anything a boy can do.”\u003c/p>\n\u003cp>[aside postid='arts_13929913']That same conversation between parent and child might play out a little differently in the current climate, now that trans and gender non-conforming communities and issues are more visible than ever before. Then again, with legal attacks being waged on transgender rights across the country, perhaps it wouldn’t. What\u003cem> Pageboy\u003c/em> does very well over the course of its 29 chapters is hammer home the damage done — and the pain endured — by kids like Page who aren’t given the full support they need to be who they are from a young age.\u003c/p>\n\u003cp>\u003cem>Pageboy\u003c/em> flits back and forth in time, bouncing between various movie sets, awkward childhood moments and multiple relationships. The nonlinear structure can be dizzying (and not always successful), but if there is a theme that runs throughout the memoir, it’s of pain endured and survival fought for. And there is not a small amount of either here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Page describes navigating exploitation as a teen actor and being preyed on by multiple men and one woman on a variety of sets. He recounts his nerve-rattling experience with a stalker while just 16 years old. Turning 18, Page writes, didn’t improve his situation. Rather, it created “an unspoken permission slip I didn’t consent to” — a notion that won’t be lost on many girls and women reading.\u003c/p>\n\u003cfigure id=\"attachment_13930202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg\" alt=\"A book cover showing a youthful transgender man wearing blue jeans and a white tank top, and sitting in front of a red backdrop.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-scaled.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pageboy’ by Elliot Page. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dotted throughout are also Page’s painful memories of homophobic attacks, starting in adolescence and running well past the point of fame. After coming out in 2014, for example, Page was accosted at a party by “one of the most famous actors in the world.” This man, drunk at the time, unfurled a torrent of abuse on Page, telling him that he wasn’t really attracted to women, he was “just afraid of men.” In one particularly disturbing moment, the actor told Page “I’m going to fuck you to make you realize you aren’t gay.”\u003c/p>\n\u003cp>[aside postid='arts_13930106']It’s an enormous shame — and likely a legally prescribed one — that Page doesn’t name names here.\u003c/p>\n\u003cp>The party incident is not the only time Page doesn’t point fingers as directly as I wish he could. Page writes extensively of a closeted actress that he met while making a movie together. They had a prolonged secret affair that ended in heartbreak for Page — a pain made worse by running into her at a party while she was on a date with a man. I would be lying if I said I didn’t go straight to IMDB to try and figure out which costar Page was describing. (I failed.)\u003c/p>\n\u003cp>Thankfully, it’s much easier to discern which “world-renowned photographer” once gave Page a hard time at a magazine shoot. Based on the clues in the story, it’s almost certainly about a \u003cem>Vanity Fair\u003c/em> shoot with Annie Liebovitz in which Page was forced to don a tight blue dress and red heels. Looking back at the photos now, it’s impossible not to notice \u003ca href=\"https://www.searchlightpictures.com/news/ellen-on-ew-and-vanity-fair-covers-kimya-on-abc/\">his defeated slump\u003c/a>.\u003c/p>\n\u003cp>What makes reading all of the hardships in \u003cem>Pageboy\u003c/em> bearable are the passages celebrating the relief of slowly finding the strength and support to be his authentic self. Describing his coming out in 2014, Page’s newfound feeling of liberation screams out from the page. (“I had a burgeoning sense of ease in the world, a confidence … This time of firsts and newfound boldness was also, unsurprisingly perhaps, the most promiscuous period of my life.”)\u003c/p>\n\u003cp>Similarly, the relief after Page’s first gender-affirming surgery is blissful to read after so many sections about fear and the struggle to come out as transgender. “Mark picked me up after the three-or-so-hour procedure,” Page relays in the book’s penultimate chapter. “He took a photo of me … high as fuck, wearing a black compression vest, my nipples just removed and slapped back on. The smile on my face, in my eyes, the degree of contentment glowing off me, phew.”\u003c/p>\n\u003cp>[aside postid='arts_13926077']\u003cem>Pageboy\u003c/em> is not always an easy read. But there is a blunt honesty in Page’s writing that makes this memoir an important testimony, especially for queer and gender non-conforming kids, that things can and do get better. In many ways, the most painful periods of Page’s life stand as a testament to what happens to people unable to live as they wish and love who they want. Having endured years in the public eye while closeted, and experienced homophobia since coming out, Page has an unflinching clarity about which one was worse.\u003c/p>\n\u003cp>“I’d rather feel pain while living,” Page asserts in Chapter 8, “than hiding.”\u003c/p>\n\u003cp>Amen to that.\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>‘Pageboy’ by Elliot Page is out now, via \u003ca href=\"https://www.flatironbooks.com/\">Flatiron Books\u003c/a>. Page will be appearing at San Francisco’s Sydney Goldstein Theater (275 Hayes St.) as part of the City Arts & Lectures series, on Saturday, June 10, 2023 at 7:30pm. A recording of the event will be broadcast on KQED on Aug. 6, 2023. \u003ca href=\"https://www.cityarts.net/event/elliot-page/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading \u003cem>Pageboy,\u003c/em> Elliot Page’s memoir, I found myself hoping and praying that the world might treat queer kids with more kindness today than it did when the actor was growing up.\u003c/p>\n\u003cp>“Dennis, what are you gonna do if Ellen’s a dyke?” Page recalls his grandmother asking his father, knowing full well that Page was in the room.\u003c/p>\n\u003cp>At six years old, when Page asked his mom if he could be a boy, she matter-of-factly responded: “No, hon, you can’t, you’re a girl … But you can do anything a boy can do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That same conversation between parent and child might play out a little differently in the current climate, now that trans and gender non-conforming communities and issues are more visible than ever before. Then again, with legal attacks being waged on transgender rights across the country, perhaps it wouldn’t. What\u003cem> Pageboy\u003c/em> does very well over the course of its 29 chapters is hammer home the damage done — and the pain endured — by kids like Page who aren’t given the full support they need to be who they are from a young age.\u003c/p>\n\u003cp>\u003cem>Pageboy\u003c/em> flits back and forth in time, bouncing between various movie sets, awkward childhood moments and multiple relationships. The nonlinear structure can be dizzying (and not always successful), but if there is a theme that runs throughout the memoir, it’s of pain endured and survival fought for. And there is not a small amount of either here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Page describes navigating exploitation as a teen actor and being preyed on by multiple men and one woman on a variety of sets. He recounts his nerve-rattling experience with a stalker while just 16 years old. Turning 18, Page writes, didn’t improve his situation. Rather, it created “an unspoken permission slip I didn’t consent to” — a notion that won’t be lost on many girls and women reading.\u003c/p>\n\u003cfigure id=\"attachment_13930202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg\" alt=\"A book cover showing a youthful transgender man wearing blue jeans and a white tank top, and sitting in front of a red backdrop.\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1325x2048.jpg 1325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elliot-Page-scaled.jpg 1656w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pageboy’ by Elliot Page. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dotted throughout are also Page’s painful memories of homophobic attacks, starting in adolescence and running well past the point of fame. After coming out in 2014, for example, Page was accosted at a party by “one of the most famous actors in the world.” This man, drunk at the time, unfurled a torrent of abuse on Page, telling him that he wasn’t really attracted to women, he was “just afraid of men.” In one particularly disturbing moment, the actor told Page “I’m going to fuck you to make you realize you aren’t gay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an enormous shame — and likely a legally prescribed one — that Page doesn’t name names here.\u003c/p>\n\u003cp>The party incident is not the only time Page doesn’t point fingers as directly as I wish he could. Page writes extensively of a closeted actress that he met while making a movie together. They had a prolonged secret affair that ended in heartbreak for Page — a pain made worse by running into her at a party while she was on a date with a man. I would be lying if I said I didn’t go straight to IMDB to try and figure out which costar Page was describing. (I failed.)\u003c/p>\n\u003cp>Thankfully, it’s much easier to discern which “world-renowned photographer” once gave Page a hard time at a magazine shoot. Based on the clues in the story, it’s almost certainly about a \u003cem>Vanity Fair\u003c/em> shoot with Annie Liebovitz in which Page was forced to don a tight blue dress and red heels. Looking back at the photos now, it’s impossible not to notice \u003ca href=\"https://www.searchlightpictures.com/news/ellen-on-ew-and-vanity-fair-covers-kimya-on-abc/\">his defeated slump\u003c/a>.\u003c/p>\n\u003cp>What makes reading all of the hardships in \u003cem>Pageboy\u003c/em> bearable are the passages celebrating the relief of slowly finding the strength and support to be his authentic self. Describing his coming out in 2014, Page’s newfound feeling of liberation screams out from the page. (“I had a burgeoning sense of ease in the world, a confidence … This time of firsts and newfound boldness was also, unsurprisingly perhaps, the most promiscuous period of my life.”)\u003c/p>\n\u003cp>Similarly, the relief after Page’s first gender-affirming surgery is blissful to read after so many sections about fear and the struggle to come out as transgender. “Mark picked me up after the three-or-so-hour procedure,” Page relays in the book’s penultimate chapter. “He took a photo of me … high as fuck, wearing a black compression vest, my nipples just removed and slapped back on. The smile on my face, in my eyes, the degree of contentment glowing off me, phew.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Pageboy\u003c/em> is not always an easy read. But there is a blunt honesty in Page’s writing that makes this memoir an important testimony, especially for queer and gender non-conforming kids, that things can and do get better. In many ways, the most painful periods of Page’s life stand as a testament to what happens to people unable to live as they wish and love who they want. Having endured years in the public eye while closeted, and experienced homophobia since coming out, Page has an unflinching clarity about which one was worse.\u003c/p>\n\u003cp>“I’d rather feel pain while living,” Page asserts in Chapter 8, “than hiding.”\u003c/p>\n\u003cp>Amen to that.\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>‘Pageboy’ by Elliot Page is out now, via \u003ca href=\"https://www.flatironbooks.com/\">Flatiron Books\u003c/a>. Page will be appearing at San Francisco’s Sydney Goldstein Theater (275 Hayes St.) as part of the City Arts & Lectures series, on Saturday, June 10, 2023 at 7:30pm. A recording of the event will be broadcast on KQED on Aug. 6, 2023. \u003ca href=\"https://www.cityarts.net/event/elliot-page/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't Hollywood Get Pop Stardom Right?",
"headTitle": "Why Can’t Hollywood Get Pop Stardom Right? | KQED",
"content": "\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>[aside postid='arts_13891785']She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVYUKxF0wMc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMCYE9hKP68\u003c/p>\n\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rieoWn9BdrQ\u003c/p>\n\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSbzyEJ8X9E\u003c/p>\n\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>[aside postid='pop_112407']There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>[aside postid='arts_13909218']Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\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/xVYUKxF0wMc'\n title='//www.youtube.com/embed/xVYUKxF0wMc'\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>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\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/fMCYE9hKP68'\n title='//www.youtube.com/embed/fMCYE9hKP68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\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/rieoWn9BdrQ'\n title='//www.youtube.com/embed/rieoWn9BdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\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/nSbzyEJ8X9E'\n title='//www.youtube.com/embed/nSbzyEJ8X9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the tender slice-of-life film \u003ca href=\"https://festival2023.qwocmap.org/featured-screening-ginger-honey-milk/\">\u003cem>Ginger & Honey Milk\u003c/em>\u003c/a>, university student Atsushi learns that when he signed “I like you” to his deaf Japanese sign language buddy Kento, his platonic intentions were completely misunderstood. “‘Like’ in sign language is used only for love,” another student explains, clasping her hands together in exasperation. Later, a heartbroken Kento cries alone in his room, overwhelmed by the pain of the rejection, pandemic isolation and coming to terms with being gay.\u003c/p>\n\u003cp>Directed by queer and deaf filmmaker Mika Imai, \u003cem>Ginger & Honey Milk\u003c/em> is one of 30 films at the 19th annual \u003ca href=\"https://festival2023.qwocmap.org/\">Queer Women of Color Film Festival\u003c/a>, which runs from June 9–11 at San Francisco’s \u003ca href=\"https://www.presidiotheatre.org/\">Presidio Theatre\u003c/a>. Organized by the \u003ca href=\"https://www.instagram.com/qwocmap/\">Queer Women of Color Media Arts Project\u003c/a> (QWOCMAP), the festival has long provided a welcoming space for queer people of color and allies to celebrate, discuss and reflect on contemporary films that highlight intersectional queer and trans narratives. Beyond its film offerings, QWOCMAP aims to inspire attendees to imagine a world in which these stories are pushed to the forefront.\u003c/p>\n\u003cp>“We’re basically creating a very temporary time period and small space [that is] the kind of world we want to live in: a world that is accessible. It’s free and anybody can participate. It is safe for sick and disabled people,” says T. Kebo Drew, QWOCMAP’s managing director.\u003c/p>\n\u003cp>This year’s festival theme is “Forever Rooted” and contemplates the underlying connections between different queer identities, stories and traditions. \u003ca href=\"https://www.instagram.com/ashleishyne/\">Ashlei Shyne\u003c/a>’s \u003cem>Sia \u003c/em>explores the issue of navigating intimacy through the pandemic, while Jordana Allen-Shim’s \u003cem>Lavender: A Lesbian Love Story\u003c/em> that digs into the plight of many queer individuals who go through with so-called lavender marriages to appease their families.\u003c/p>\n\u003cfigure id=\"attachment_13930070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png\" alt=\"two young Asian women with masks around their chins walk on the street in a still from a film\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1920x1074.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Japanese filmmaker Mika Imai’s ‘Ginger & Honey Milk’ is a heartfelt exploration of deaf and queer university students struggling with love and identity through the pandemic. \u003ccite>(Courtesy of QWOCMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each story is different, yet they are intertwined in their meditations on what it means to survive as a queer person of color today. With each film, the various connective roots become apparent: there are threads of unrequited desire and self-exploration. There are roots that take people home — and lead them to entirely new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve had people over the years walk in and then stay and come back. There’s a sense of: ‘I can be here. I don’t feel isolated. I feel like I’m part of something,’” says Drew. The festival emphasizes a feeling of collective care and generative love in queer friendships, romantic relationships and found families. “Folks have come to the film festival and walked away saying, ‘If I don’t have a love like that in my life, then I don’t want it.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 19th annual Queer Women of Color Film Festival takes place June 9–11 at the Presidio Theatre in San Francisco. All films will include subtitles, audio descriptions and ASL interpretation. There will also be a panel on disability justice in film on June 10 and a virtual online screening available at the end of the month. The festival is free to attend; \u003ca href=\"https://festival2023.qwocmap.org/tickets/\">more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the tender slice-of-life film \u003ca href=\"https://festival2023.qwocmap.org/featured-screening-ginger-honey-milk/\">\u003cem>Ginger & Honey Milk\u003c/em>\u003c/a>, university student Atsushi learns that when he signed “I like you” to his deaf Japanese sign language buddy Kento, his platonic intentions were completely misunderstood. “‘Like’ in sign language is used only for love,” another student explains, clasping her hands together in exasperation. Later, a heartbroken Kento cries alone in his room, overwhelmed by the pain of the rejection, pandemic isolation and coming to terms with being gay.\u003c/p>\n\u003cp>Directed by queer and deaf filmmaker Mika Imai, \u003cem>Ginger & Honey Milk\u003c/em> is one of 30 films at the 19th annual \u003ca href=\"https://festival2023.qwocmap.org/\">Queer Women of Color Film Festival\u003c/a>, which runs from June 9–11 at San Francisco’s \u003ca href=\"https://www.presidiotheatre.org/\">Presidio Theatre\u003c/a>. Organized by the \u003ca href=\"https://www.instagram.com/qwocmap/\">Queer Women of Color Media Arts Project\u003c/a> (QWOCMAP), the festival has long provided a welcoming space for queer people of color and allies to celebrate, discuss and reflect on contemporary films that highlight intersectional queer and trans narratives. Beyond its film offerings, QWOCMAP aims to inspire attendees to imagine a world in which these stories are pushed to the forefront.\u003c/p>\n\u003cp>“We’re basically creating a very temporary time period and small space [that is] the kind of world we want to live in: a world that is accessible. It’s free and anybody can participate. It is safe for sick and disabled people,” says T. Kebo Drew, QWOCMAP’s managing director.\u003c/p>\n\u003cp>This year’s festival theme is “Forever Rooted” and contemplates the underlying connections between different queer identities, stories and traditions. \u003ca href=\"https://www.instagram.com/ashleishyne/\">Ashlei Shyne\u003c/a>’s \u003cem>Sia \u003c/em>explores the issue of navigating intimacy through the pandemic, while Jordana Allen-Shim’s \u003cem>Lavender: A Lesbian Love Story\u003c/em> that digs into the plight of many queer individuals who go through with so-called lavender marriages to appease their families.\u003c/p>\n\u003cfigure id=\"attachment_13930070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png\" alt=\"two young Asian women with masks around their chins walk on the street in a still from a film\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1920x1074.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Japanese filmmaker Mika Imai’s ‘Ginger & Honey Milk’ is a heartfelt exploration of deaf and queer university students struggling with love and identity through the pandemic. \u003ccite>(Courtesy of QWOCMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each story is different, yet they are intertwined in their meditations on what it means to survive as a queer person of color today. With each film, the various connective roots become apparent: there are threads of unrequited desire and self-exploration. There are roots that take people home — and lead them to entirely new ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve had people over the years walk in and then stay and come back. There’s a sense of: ‘I can be here. I don’t feel isolated. I feel like I’m part of something,’” says Drew. The festival emphasizes a feeling of collective care and generative love in queer friendships, romantic relationships and found families. “Folks have come to the film festival and walked away saying, ‘If I don’t have a love like that in my life, then I don’t want it.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 19th annual Queer Women of Color Film Festival takes place June 9–11 at the Presidio Theatre in San Francisco. All films will include subtitles, audio descriptions and ASL interpretation. There will also be a panel on disability justice in film on June 10 and a virtual online screening available at the end of the month. The festival is free to attend; \u003ca href=\"https://festival2023.qwocmap.org/tickets/\">more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Past Lives’ is a Gorgeous Meditation on Love, Chance — and the Choices We Make",
"headTitle": "‘Past Lives’ is a Gorgeous Meditation on Love, Chance — and the Choices We Make | KQED",
"content": "\u003cp>Two minutes away, the Uber app promises at one point in \u003cem>Past Lives\u003c/em>. And if you’re like me, you may find yourself — perhaps for the first time in your Uber-riding life — hoping that promise is a bald-faced lie.\u003c/p>\n\u003cp>Because you’ll want more minutes, many more, for the couple presumably about to be separated by that Uber, even though they’re simply staring at each other on the street, saying absolutely nothing.\u003c/p>\n\u003cp>This is but one small moment of playwright Celine Song’s gorgeous, achingly wistful feature debut. But it highlights her striking confidence as a filmmaker. Time and again, Song, who both writes and directs here, makes the unflashy, understated choice — and in so doing, darned near breaks our hearts, with a tale that feels universal yet rich in detail, urgent yet unrushed. And if, also like me, you suddenly feel tears forming, they may surprise you, precisely because nobody’s been trying to force them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kA244xewjcI&t=60s\u003c/p>\n\u003cp>We begin with a trio chatting in a New York bar — a woman flanked by two men. We’re too far away to hear what they’re saying or understand how they’re connected, and we hear distant voices speculating: “Maybe they’re tourists, and he’s the tour guide?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flashback 24 years to Seoul, where Nora (then called Na Young) and close friend Hae Sung, both 12, are walking home from school. Nora, her hair in long braids, is crying because she lost first place on a school assignment to Hae Sung. (She’s an ambitious sort.) The friendship — too early for romance — is about to be sadly interrupted, because Nora’s family is moving to Canada.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Twelve years pass. Nora ( Greta Lee, terrific in a smart, restrained performance that echoes her director’s style) has now moved to New York as an aspiring playwright (yes, much of this story is autobiographical.) On a lark one day, she tries to look up figures from her past. Searching for Hae Sung, she learns he was recently looking for her, too.\u003c/p>\n\u003cp>They schedule a video chat — at first halting, but soon they’re chatting day and night. Hae Sung (Teo Yoo) is still living at home, common for young Koreans, and studying at university. He has plans to go to China. Nora is moving ahead with her own dreams (her goal has shifted from a Nobel to a Pulitzer.)\u003c/p>\n\u003cp>When the distance becomes too painful, Nora calls for a break. Not long after, she attends a writing residency and meets Arthur (John Magaro), a fellow writer. And 12 years pass again. The two live in Brooklyn and have been married seven years.\u003c/p>\n\u003cp>[aside postid='arts_13929679']Suddenly, Nora hears from Hae Sung. He’s coming from Seoul and wants to see her. Their meeting in a city park is nothing like the rom-com encounter it could be in another film. Song knows that in real life, there’s often an inability to react quickly or cleverly or even at all, for awhile. The director lets awkward silences stand.\u003c/p>\n\u003cp>Over the next few days the couple gets to know each other. Not surprisingly, Arthur feels somewhat threatened. Late at night he quietly tells Nora that she dreams in Korean, a language and world he does not know. He wonders if he’s “the guy you leave in the story when your ex comes to take you away.”\u003c/p>\n\u003cfigure id=\"attachment_13930009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-800x464.png\" alt=\"An Asian woman and white man walk close together in the street. An Asian man stands nearby looking concerned.\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-800x464.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-1020x591.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-768x445.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM.png 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A24 shows Greta Lee, from left, John Magaro, Teo Yoo in a scene from ‘Past Lives.’ \u003ccite>(Jon Pack/A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And suddenly we’re back at that restaurant bar scene, and now we understand. The three characters try to navigate the unusual circumstances. They discuss what-ifs, and zoom in on a Korean concept of fate, explained by Nora earlier as the connection between two people that has been influenced or determined by connections in past lives — hence the film’s title.\u003c/p>\n\u003cp>Without giving away the ending, it’s worth noting that Song has drawn much from her own life — down to that bar scene, and a similar visit from a long-ago connection from Korea.\u003c/p>\n\u003cp>[aside postid='arts_13929254']She raises a number of lessons here, but one seems to be that choices, which seem so limitless in our youth, have consequences, even (or most especially) when we’re not noticing. No one choice seems irreversible, perhaps, but eventually they coalesce into a life path.\u003c/p>\n\u003cp>But the playwright also tells us that versions of one life can co-exist. Nora notes at one point that even if her older New York version is different, the younger Korean version is still real, and still exists on some other plane.\u003c/p>\n\u003cp>“This is my life, I’m living it with you,” she tells Arthur early on, trying to reassure him (and perhaps herself.) But one of the beauties of this film is how it allows for such an expansive, generous view of what one life can actually be.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, visit AP.\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>‘Past Lives’ is out now.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Celine Song’s gorgeous, achingly wistful feature debut presents a generous view of what one life can actually be.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two minutes away, the Uber app promises at one point in \u003cem>Past Lives\u003c/em>. And if you’re like me, you may find yourself — perhaps for the first time in your Uber-riding life — hoping that promise is a bald-faced lie.\u003c/p>\n\u003cp>Because you’ll want more minutes, many more, for the couple presumably about to be separated by that Uber, even though they’re simply staring at each other on the street, saying absolutely nothing.\u003c/p>\n\u003cp>This is but one small moment of playwright Celine Song’s gorgeous, achingly wistful feature debut. But it highlights her striking confidence as a filmmaker. Time and again, Song, who both writes and directs here, makes the unflashy, understated choice — and in so doing, darned near breaks our hearts, with a tale that feels universal yet rich in detail, urgent yet unrushed. And if, also like me, you suddenly feel tears forming, they may surprise you, precisely because nobody’s been trying to force them.\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/kA244xewjcI'\n title='//www.youtube.com/embed/kA244xewjcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin with a trio chatting in a New York bar — a woman flanked by two men. We’re too far away to hear what they’re saying or understand how they’re connected, and we hear distant voices speculating: “Maybe they’re tourists, and he’s the tour guide?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flashback 24 years to Seoul, where Nora (then called Na Young) and close friend Hae Sung, both 12, are walking home from school. Nora, her hair in long braids, is crying because she lost first place on a school assignment to Hae Sung. (She’s an ambitious sort.) The friendship — too early for romance — is about to be sadly interrupted, because Nora’s family is moving to Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Twelve years pass. Nora ( Greta Lee, terrific in a smart, restrained performance that echoes her director’s style) has now moved to New York as an aspiring playwright (yes, much of this story is autobiographical.) On a lark one day, she tries to look up figures from her past. Searching for Hae Sung, she learns he was recently looking for her, too.\u003c/p>\n\u003cp>They schedule a video chat — at first halting, but soon they’re chatting day and night. Hae Sung (Teo Yoo) is still living at home, common for young Koreans, and studying at university. He has plans to go to China. Nora is moving ahead with her own dreams (her goal has shifted from a Nobel to a Pulitzer.)\u003c/p>\n\u003cp>When the distance becomes too painful, Nora calls for a break. Not long after, she attends a writing residency and meets Arthur (John Magaro), a fellow writer. And 12 years pass again. The two live in Brooklyn and have been married seven years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Suddenly, Nora hears from Hae Sung. He’s coming from Seoul and wants to see her. Their meeting in a city park is nothing like the rom-com encounter it could be in another film. Song knows that in real life, there’s often an inability to react quickly or cleverly or even at all, for awhile. The director lets awkward silences stand.\u003c/p>\n\u003cp>Over the next few days the couple gets to know each other. Not surprisingly, Arthur feels somewhat threatened. Late at night he quietly tells Nora that she dreams in Korean, a language and world he does not know. He wonders if he’s “the guy you leave in the story when your ex comes to take you away.”\u003c/p>\n\u003cfigure id=\"attachment_13930009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-800x464.png\" alt=\"An Asian woman and white man walk close together in the street. An Asian man stands nearby looking concerned.\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-800x464.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-1020x591.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM-768x445.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-02-at-11.08.15-AM.png 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A24 shows Greta Lee, from left, John Magaro, Teo Yoo in a scene from ‘Past Lives.’ \u003ccite>(Jon Pack/A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And suddenly we’re back at that restaurant bar scene, and now we understand. The three characters try to navigate the unusual circumstances. They discuss what-ifs, and zoom in on a Korean concept of fate, explained by Nora earlier as the connection between two people that has been influenced or determined by connections in past lives — hence the film’s title.\u003c/p>\n\u003cp>Without giving away the ending, it’s worth noting that Song has drawn much from her own life — down to that bar scene, and a similar visit from a long-ago connection from Korea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She raises a number of lessons here, but one seems to be that choices, which seem so limitless in our youth, have consequences, even (or most especially) when we’re not noticing. No one choice seems irreversible, perhaps, but eventually they coalesce into a life path.\u003c/p>\n\u003cp>But the playwright also tells us that versions of one life can co-exist. Nora notes at one point that even if her older New York version is different, the younger Korean version is still real, and still exists on some other plane.\u003c/p>\n\u003cp>“This is my life, I’m living it with you,” she tells Arthur early on, trying to reassure him (and perhaps herself.) But one of the beauties of this film is how it allows for such an expansive, generous view of what one life can actually be.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, visit AP.\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>‘Past Lives’ is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On April 28, 1945, footage was taken of 2,000 female concentration camp survivors gathered at the harbor in Malmö, Sweden. Many appear remarkably relaxed, smiling and waving for the camera as it pans past them on the crowded dock. Outside of the excited mass, the camera captures more pensive faces — women whose trauma is etched on their brows, their faces worn from the horrors they’ve experienced. Among them stands a stoic Asian woman, still dressed in her striped concentration camp coat, her face an enigmatic blank.\u003c/p>\n\u003cp>When documentary filmmaker Magnus Gertten saw the footage of that day, he knew he wanted to find out more about as many of the women as he could. Particularly, he was desperate to find out about the mysterious woman in the striped coat. What or who was she thinking about when the camera caught her immovable gaze? Where did she end up? And did she ever find a happy ending?\u003c/p>\n\u003cfigure id=\"attachment_13929953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Nadine-800x524.png\" alt=\"An Asian woman wearing a thick striped coat and whit neck scarf knotted at her neck, stares blankly forward, her hair disheveled. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1920x1257.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine.png 1964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Hwang, shortly after she was liberated from Ravensbrück, the largest concentration camp for women in Germany. \u003ccite>(‘Nelly & Nadine’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New documentary \u003cem>Nelly & Nadine\u003c/em> answers all of those questions over the course of its engrossing 90 minutes. The woman in the archival footage was named Nadine Hwang. The daughter of the Chinese ambassador to Spain, Hwang had lived proudly as a lesbian long before the war, moving in prestigious bohemian and literary circles. While incarcerated at the Ravensbrück concentration camp, she met and fell in love with a singer named Claire “Nelly” Mousset-Vos. Their relationship ultimately helped them both endure the atrocities of World War II; their deep love a powerful catalyst for survival. But standing on the dock that day, Hwang had no idea if the love of her life was even still alive, or if she would ever see her again.\u003c/p>\n\u003cp>The couple’s story, both during and after the war, is told in \u003cem>Nelly & Nadine\u003c/em> via what they so painstakingly left behind: Super 8 home movies, personal correspondence, Hwang’s extensive photo and letter collection and, most importantly, Mousset-Vos’ vivid and heart-wrenching diaries. For decades, Hwang and Mousset-Vos’ personal effects sat in a steel box in the home of the latter’s granddaughter, Sylvie Bianchi — a woman who found herself so heartbroken by its contents, she long refused to read them in any depth. Bianchi’s decision to finally do so is at the center of \u003cem>Nelly & Nadine\u003c/em>. It is her grandmother’s relationship, however, that becomes the film’s heart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cVi0gwobeg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On April 28, 1945, footage was taken of 2,000 female concentration camp survivors gathered at the harbor in Malmö, Sweden. Many appear remarkably relaxed, smiling and waving for the camera as it pans past them on the crowded dock. Outside of the excited mass, the camera captures more pensive faces — women whose trauma is etched on their brows, their faces worn from the horrors they’ve experienced. Among them stands a stoic Asian woman, still dressed in her striped concentration camp coat, her face an enigmatic blank.\u003c/p>\n\u003cp>When documentary filmmaker Magnus Gertten saw the footage of that day, he knew he wanted to find out more about as many of the women as he could. Particularly, he was desperate to find out about the mysterious woman in the striped coat. What or who was she thinking about when the camera caught her immovable gaze? Where did she end up? And did she ever find a happy ending?\u003c/p>\n\u003cfigure id=\"attachment_13929953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929953\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Nadine-800x524.png\" alt=\"An Asian woman wearing a thick striped coat and whit neck scarf knotted at her neck, stares blankly forward, her hair disheveled. \" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine-1920x1257.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Nadine.png 1964w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nadine Hwang, shortly after she was liberated from Ravensbrück, the largest concentration camp for women in Germany. \u003ccite>(‘Nelly & Nadine’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New documentary \u003cem>Nelly & Nadine\u003c/em> answers all of those questions over the course of its engrossing 90 minutes. The woman in the archival footage was named Nadine Hwang. The daughter of the Chinese ambassador to Spain, Hwang had lived proudly as a lesbian long before the war, moving in prestigious bohemian and literary circles. While incarcerated at the Ravensbrück concentration camp, she met and fell in love with a singer named Claire “Nelly” Mousset-Vos. Their relationship ultimately helped them both endure the atrocities of World War II; their deep love a powerful catalyst for survival. But standing on the dock that day, Hwang had no idea if the love of her life was even still alive, or if she would ever see her again.\u003c/p>\n\u003cp>The couple’s story, both during and after the war, is told in \u003cem>Nelly & Nadine\u003c/em> via what they so painstakingly left behind: Super 8 home movies, personal correspondence, Hwang’s extensive photo and letter collection and, most importantly, Mousset-Vos’ vivid and heart-wrenching diaries. For decades, Hwang and Mousset-Vos’ personal effects sat in a steel box in the home of the latter’s granddaughter, Sylvie Bianchi — a woman who found herself so heartbroken by its contents, she long refused to read them in any depth. Bianchi’s decision to finally do so is at the center of \u003cem>Nelly & Nadine\u003c/em>. It is her grandmother’s relationship, however, that becomes the film’s heart.\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/6cVi0gwobeg'\n title='//www.youtube.com/embed/6cVi0gwobeg'\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>The most impactful parts of \u003cem>Nelly & Nadine\u003c/em> can be attributed to excerpts from Mousset-Vos’ extraordinary wartime diaries. Alive with vivid detail, her writings transport the viewer to every sight, smell and anxiety of living in hell on Earth. She is blunt and unflinching when it comes to conveying the true torments of concentration camp incarceration. The directness of her writing is often devastating in its simplicity. “17 women are dead,” she writes at the end of a hellish five-day train journey. “And a baby was born.”\u003c/p>\n\u003cp>At one point, after being transferred from Ravensbrück, Mousset-Vos describes her new location thusly:\u003c/p>\n\u003cblockquote>\u003cp>At the top, crowning the mountain, lies the camp. Mauthausen, the antechamber of hell. We climb down a giant 186-step staircase carved into the rock. It’s the quarry. Our tomb. The air smells of typhus and corpses. You have to fight for a morsel of moldy bread, a sip of water, a place to sleep. A woman lets out a long cry of agony that sounds like a cry of pleasure. How to find the courage to survive?\u003c/p>\u003c/blockquote>\n\u003cp>Mousset-Vos’ writings make plain how the love of Hwang helped her to endure the unimaginable. She wrote of briefly snatched moments of joy when the pair could share measly bread rations and deep conversations. “I find myself looking out for her black hair beneath white scarf,” Mousset-Vos wrote shortly after meeting Hwang, “and her eyes that light up when they see me.”\u003c/p>\n\u003cp>At the end of the war, having both somehow made it out alive, the two corresponded by postcard and letter for a few years before they could be reunited. Once they were, they built a life together in Venezuela — a location chosen to help them erase their memories of the war. Old friends are interviewed in \u003cem>Nelly & Nadine\u003c/em> about the life Hwang and Mousset-Vos shared there, a life well lived and thoroughly enjoyed. It is clear that the couple gave each other — and their friends — permission to live any way they pleased. After what they endured in the war, there was simply no other way to move forward.\u003c/p>\n\u003cp>\u003cem>Nelly & Nadine\u003c/em> is a layered story, richly told. Yes, it offers a new telling of the war from the perspective of a supremely talented writer. And, yes, it speaks to family lineage and the legacies we leave behind. It is about the importance of finding cracks of light in relentless darkness. But above all else, it is a story of magnificent, beautiful LGBTQ love; love that was life-saving first and life-affirming later; love that was embraced and nurtured and valued above all else. And while some of the details in it have the power to devastate, the hope in \u003cem>Nelly & Nadine\u003c/em> shines brighter than everything else. Something that very much reflects the relationship it’s about.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nellie & Nadine’ begins streaming on June 6, 2023, and is available via Apple TV, Amazon Prime Video, Vudu and Wolfe On Demand.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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