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"content": "\u003cp>Associated Press video journalist Mstyslav Chernov had just broken out of Mariupol after covering the first 20 days of the Russian invasion of the Ukrainian city and was feeling guilty about leaving. He and his colleagues, photographer Evgeniy Maloletka and producer Vasilisa Stepanenko, had been the last journalists there, sending crucial dispatches from a city under a full-scale assault.\u003c/p>\n\u003cp>The day after, a theater with hundreds of people sheltering inside was bombed and he knew no one was there to document it. That’s when Chernov decided he wanted to do something bigger. He’d filmed some 30 hours of footage over his days in Mariupol. But poor — and sometimes no — internet connections made it extremely difficult to export anything. All told, he estimates only about 40 minutes of that successfully made it out to the world.\u003c/p>\n\u003cp>“Those shots which went out were very important. They went on the AP and then to thousands of news outlets,” Chernov said earlier this year. “However, I had much more. … I thought I should do something more. I should do something more with that 30 hours of footage to tell a bigger story and more context to show the audience of the scale.”\u003c/p>\n\u003cp>[aside postid='arts_13930824']The bigger story became a documentary, \u003cem>20 Days in Mariupol\u003c/em>, a joint project between The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, which premiered earlier this year at Sundance Film Festival in Park City, Utah, where it won the audience award for world cinema documentary. Their reporting was also awarded two Pulitzer Prizes, including the prestigious public service award and for breaking news photography. And now the film is coming to a handful of theaters around the U.S. in July, starting with New York and Chicago this Friday.\u003c/p>\n\u003cp>Chernov knew there were many ways to tell this story. But he decided early on to keep it contained to those harrowing first 20 days that he and his colleagues were on the ground, to evoke the claustrophobic feeling of being trapped. He also chose to narrate it himself and tell it as a journalist would.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s just a lens through which we see the stories of Mariupol’s residents, the death, their suffering, the destruction of their homes,” he said. “At the same time, I felt that I can do it. I’m allowed to do it because I’m part of the community. I was born in eastern Ukraine and [a] photographer who worked with me was born in the city which is right next to Mariupol, which got occupied. So this is our story too.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>As an AP employee, Chernov was extremely aware of maintaining neutrality and being unbiased.\u003c/p>\n\u003cp>“It’s OK to tell the audiences about your emotions,” he said. “It’s just important to not let those emotions dictate what you show and don’t show. … While narrated by me, I still tried to keep it fair.”\u003c/p>\n\u003cp>[aside postid='arts_13931346']He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>[aside postid='arts_13929913']“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He encounters quite a few different reactions to him and his colleagues being on the ground. Some thanked them for doing their jobs. Some called them prostitutes. Some doctors urged them to film graphic scenes of injured and dead children to show the world what had been done.\u003c/p>\n\u003cp>After Chernov left Mariupol and was finally able to catch up with the news reports around the world, he was stunned by the effect their footage had. They followed up with people they’d met during their time there, some who got out, others who didn’t, and asked whether or not they’d affected their lives.\u003c/p>\n\u003cp>Some said relatives had found them because of the footage, or that they’d been able to get help. Doctors and officials said it made it easier to negotiate the green corridor to safety.\u003c/p>\n\u003cp>“I don’t know how much of that is our footage, how much of that is just what happens,” Chernov said. “But I really would like to believe that we did make a difference, because I guess that’s what journalism is about, to inform people so they make certain decisions.”\u003c/p>\n\u003cp>Another mission for him was to provide historical evidence for potential war crimes. Chernov is keenly aware that the war is not even history yet. It is a painful reality that is ongoing.\u003c/p>\n\u003cp>At Sundance he was able to watch the film, edited by Michelle Mizner of \u003cem>Frontline\u003c/em>, with an audience two times. The film got a standing ovation at the premiere. And at a subsequent screening he met several audience members who said they were from Mariupol and that their relatives were escaping the besieged city at the same time he was. The theaters had counselors on standby in case anyone needed support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I hoped they will have emotional responses and they did. But at the same time to watch people crying, it’s hard,” he said. “When you place an audience for 90 minutes into this chaos and this mess and this violence, there is a risk of people getting too overwhelmed or even pushed back by the amount of this violence.\u003c/p>\n\u003cp>“You just really want to show how it really was,” he added. “That was the main challenge of making choices while assembling the film. How do you show the gravity but at the same time not push the audience away? … We had already two screenings and audience responses are very strong. People are crying, people are depressed and they express a wide range of feelings, from anger, to sadness, to grief. That is what I as a filmmaker intended to do. But at the same time, I realize that probably that’s not easy for everyone.”\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>‘\u003ca href=\"https://20daysinmariupol.com/\">20 Days in Mariupol\u003c/a>’ opens July 21 in Bay Area theaters. Director Mstyslav Chernov will be in person at \u003ca href=\"https://roxie.com/film/20-days-in-mariupol/\">the Roxie Theater\u003c/a> (3117 16th St., San Francisco) on Saturday, July 22 for a Q&A moderated by Amanda Pike. Chernov will also appear on Sunday, July 23 at \u003ca href=\"https://rafaelfilm.cafilm.org/20-days-in-mariupol/\">the San Rafael Film Center\u003c/a> (1118 Fourth St., San Rafael). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland-Based Filmmaker Cheryl Dunye Advises: 'Put Yourself Out Where You Belong'",
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"content": "\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwJc6hVgMDk\u003c/p>\n\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>[aside postid='arts_13894145']Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in Philadelphia, Cheryl Dunye says she was fascinated by the stories reflected in her mother’s scrapbook photos. She studied filmmaking in college and graduate school but didn’t see people who looked like her on screen.\u003c/p>\n\u003cp>Dunye changed that with her 1996 debut, \u003cem>The Watermelon Woman.\u003c/em> It is the first feature-length film written and directed by a Black lesbian. In it, Dunye plays a fictionalized version of her 25-year-old self, a video store clerk aspiring to become a filmmaker. In her off hours, she watches films from the 1930s and ’40s with Black actresses such as Hattie McDaniel and Louise Beavers. However, they’re often relegated to racially stereotyped roles; some aren’t even listed in the credits.\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/uwJc6hVgMDk'\n title='//www.youtube.com/embed/uwJc6hVgMDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cheryl decides to make a documentary about an actress who’d been typecast as a mammy in a movie called \u003cem>Plantation Memories\u003c/em> and credited as “the watermelon woman.” Her quest mirrored that of the real life Dunye, who says archival records about Black actresses of that era were hard to come by. Even then, she often came up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13931448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png\" alt='A hand holding up a pile of photos. The top image shows a Black woman facing the camera with a startled expression. Handwriting underneath the image says \"Woman holding flowers (full frame).\"' width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-800x607.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-1020x774.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-160x121.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.07.48-PM.png 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Watermelon Woman,’ Dunye reconstructs the story of Fae Richards through personal photos, home movies, and the memories of those who knew her. \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Cheryl reconstructs the actress’ story through personal photos, home movies, and the memories of those who knew her. We learn that Fae Richards, like Cheryl, was from Philadelphia. She had a fraught relationship with the white female director of \u003cem>Plantation Memories\u003c/em>. Her acting career stymied by racism, Faye later found lasting love with a Black woman named June. In a letter written from her hospital bed at the end of her life, June encourages Cheryl to “make our history before we are all dead and gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experience leads Cheryl to take stock of her relationship with a white woman \u003ca href=\"https://www.youtube.com/watch?v=pq22qx9dJhY\">she met at the video store \u003c/a>and what she’s learned about herself while searching for Fae. Speaking into the camera at the close of the film, she says, “Most importantly, what I understand is that I’m gonna be the one who says ‘I am a Black lesbian filmmaker who’s just beginning, but I’m gonna say a lot more and have a lot more work to do.'”\u003c/p>\n\u003cfigure id=\"attachment_13931449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931449\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png\" alt=\"A Black woman with very short hair sits in front of a wall of images, pins messily to a wall. She is in the middle of talking.\" width=\"800\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM-768x583.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.13.47-PM.png 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Cheryl Dunye’s film ‘The Watermelon Woman.’ \u003ccite>(The Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After presenting what she discovered about Fae, a title card reveals that the watermelon woman is a fiction invented to tell a true story about the invisibility and erasure of Black lesbian lives. (In real life, Dunye conjured Fae Richards with the help of \u003ca href=\"https://digitalcollections.saic.edu/islandora/object/islandora%3Ajfabc_9041\">a faux archive\u003c/a> co-created by the photographer Zoe Leonard, parts of which were sold to raise money for the completion of the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmmaker and historian \u003ca href=\"http://yvonnewelbon.com/\">Yvonne Welbon\u003c/a> says Dunye’s film reflected history and possibility. “There’s so many ways that we are seeing Black women. We are seeing this Black woman as a filmmaker, and we know the film is made by a Black woman who is searching for a Black woman in film on the other side of the camera, and so it’s reminding us all along about Cheryl’s agency as a director. It just really drives home the point that sometimes we have to take it upon ourselves to tell our own stories.”\u003c/p>\n\u003cp>But Welbon points out that even today, only about \u003ca href=\"https://assets.uscannenberg.org/docs/aii-inclusion-directors-chair-2022.pdf\">10% of directors are women\u003c/a>. “Then you drill down to our other identities around race and around our orientation,” she says. “Cheryl put herself in the film so that filmmakers could see what a \u003ca href=\"http://sistersinthelife.com/\">Black queer media maker \u003c/a>looked like. I don’t know if that’s why she did it, but we could see her, and in seeing her, it made it possible for other people to believe that they could be just like her.”\u003c/p>\n\u003cp>When \u003cem>The Watermelon Woman\u003c/em> premiered in 1996 at the Berlin International Film Festival, it won the prestigious \u003ca href=\"https://www.berlinale.de/en/festival/awards-and-juries/further-prizes.html\">Teddy Prize\u003c/a>. It went on to win awards at Italy’s Torino Film Festival, France’s Cretéil International Women’s Film Festival, and LA’s OutFest. \u003cem>Newsday\u003c/em> called Dunye “the lesbian Spike Lee,” but the culture wars were raging, and in 1997 Michigan Republican Congressman Pete Hoekstra derided \u003cem>The Watermelon Woman\u003c/em> as “possibly pornographic.” \u003ca href=\"https://www.c-span.org/video/?c4722291/user-clip-house-debate-cheryl-dunyes-watermelon-woman\">During a House debate\u003c/a> on an appropriations bill, he decried that the film had been funded by taxpayers — referring to a $31,500 NEA grant that made up roughly a tenth of its shoestring budget.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931450 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png\" alt=\"The pink cover of 'The Watermelon Woman,' showing a Black woman's face obscured by an image of another Black woman wearing a headscarf. \" width=\"556\" height=\"694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM.png 556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-10-at-11.18.52-PM-160x200.png 160w\" sizes=\"(max-width: 556px) 100vw, 556px\">\u003c/p>\n\u003cp>Most of Dunye’s subsequent films — \u003ca href=\"https://www.imdb.com/name/nm0243109/\">including nearly a half dozen features\u003c/a> — were made outside Hollywood. Yet \u003cem>The Watermelon Woman\u003c/em> was often screened at festivals and colleges, leading to its \u003ca href=\"https://firstrunfeatures.com/watermelonwomandvd.html\">20th anniversary restoration and re-release\u003c/a>. Columbia University film Professor \u003ca href=\"https://www.racquelgates.com/\">Racquel J. Gates\u003c/a> says its staying power is a testament to Dunye’s voice and vision: “She’s talking about issues of lesbian identity, but she’s also thinking through the politics of race and interracial relationships and friendships, generational differences within lesbian communities, and she’s also interweaving that with an interesting, speculative history of Black representation in Hollywood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As opportunities opened in cable and streaming, Ava Duvernay tapped Dunye to direct episodes of \u003cem>Queen Sugar\u003c/em> in 2017. Since then, she’s worked on scores of other TV shows, including \u003cem>The Chi\u003c/em>, \u003cem>Lovecraft Country\u003c/em> and \u003cem>David Makes Man\u003c/em>. Series creator \u003ca href=\"https://www.drama.yale.edu/bios/tarell-mccraney-2/\">Tarell Alvin McCraney\u003c/a> says Dunye expanded how Black LGBTQ+ stories are told and by whom, building a legacy for future generations. “She gave me this shirt that is a replica of \u003ca href=\"https://www.youtube.com/watch?v=qyVmaX4uQNU\">\u003cem>Brother to Brother\u003c/em>\u003c/a>, which is also a seminal documentary about queer Black love. Whenever I’m on a set, or I have a meeting, I just wear that shirt because it feels like I’m connected to something bigger than myself. I’m connected to a community of artists who have my back from time immemorial.”\u003c/p>\n\u003cp>Added to \u003ca href=\"https://www.moma.org/collection/works/312266\">the permanent collection of New York’s Museum of Modern Art\u003c/a>, and inducted into the \u003ca href=\"https://www.loc.gov/programs/national-film-preservation-board/film-registry/inductee-gallery/\">National Film Registry\u003c/a>, \u003cem>The Watermelon Woman\u003c/em> is now coming to the \u003ca href=\"https://www.criterion.com/films/30705-the-watermelon-woman\">Criterion Collection\u003c/a>. McCraney says becoming part of the canon of films past and present is more than symbolic, particularly in light of the current political climate. “It’s making sure that our stories are being told and our voices are still being heard, and that a thread in the fabric is not being unwoven or cut out.”\u003c/p>\n\u003cp>Dunye says her upcoming plans include directing a feature film based on Audre Lorde’s 1982 biomythography \u003ca href=\"https://www.penguinrandomhouse.com/books/198090/zami-a-new-spelling-of-my-name-by-audre-lorde/\">\u003cem>Zami: A New Spelling of My Name\u003c/em>\u003c/a> and collaborating with \u003ca href=\"http://jewellegomez.com/\">Jewelle Gomez\u003c/a> to adapt \u003ca href=\"http://jewellegomez.com/506-2/the-gilda-stories/\">\u003cem>The Gilda Stories\u003c/em>\u003c/a>, Gomez’s trailblazing 1991 novel about a Black lesbian vampire who travels through 200 years of American history, as an episodic television series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Citing both authors as inspirations for her own journey, Dunye says they also carry a message for others. “Making work is a privilege, a right,” Dunye says. “Getting that out there is just connecting with people and community. You have to constantly keep putting yourself out where you belong. There’s a loop to it.”\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=Some+advice+from+filmmaker+Cheryl+Dunye%3A+%27Keep+putting+yourself+out+where+you+belong%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing",
"headTitle": "The Cut Outdoor Cinema Lives Up to Pandemic Promises of Accessible Moviegoing | KQED",
"content": "\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was another Friday night out at the movies with a few noticeable differences. As I adjusted the tilt on my deck chair, a spotted mutt in a purple harness paced anxiously nearby, waiting for its human to return with hot popcorn. As the movie began, planes regularly crossed the skyline, pulling my attention away from the film ever so briefly. About halfway through the screening, the moon crept out from behind a glass tower.\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/\">The Cut Outdoor Cinema\u003c/a> opened in 2022 to seemingly little fanfare. In the same area as new pickleball courts, soccer pitches, and an outdoor gym, the cinema occupies a dedicated parcel of the former temporary Transbay Terminal, now dubbed \u003ca href=\"https://www.eastcutcrossing.com/\">The Crossing\u003c/a>. With a bright 23-foot LED screen and noise-canceling headphones to keep viewers focused on the feature presentation, distractions common in indoor theaters — folks whisper-chatting, smartphone screens lit up by mid-movie texting — don’t even register here. The only major intrusion can be the sound system at the neighboring beer garden — that, and a good dog passing in an aisle.\u003c/p>\n\u003cp>I’d expected to enjoy the experience, especially as a person seeking safe entertainment options in a time when pandemic protections have been stripped from basically all public areas. But it wasn’t until I settled in to watch \u003cem>Clueless\u003c/em> on a recent evening that I realized how an outdoor cinema set up on a repurposed SoMa square feels like a necessarily inventive and radically inclusive space. I only regret that it took me so long to discover this delightful new option.\u003c/p>\n\u003cp>An outdoor cinema is the exact sort of creative, accessible venue I’d optimistically hoped would emerge — and remain — as a safer alternative to indoor spaces with poor ventilation, given all we’ve ostensibly learned about preventable airborne illness in the past few years. Located just two blocks from the bay, the breeziness and ability to spread out from other moviegoers is a benefit, not a drawback. It’s part of a flat-surface plaza, accessible for folks using mobility aids or with wheeled conveyances like strollers.\u003c/p>\n\u003cfigure id=\"attachment_13931427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg\" alt=\"Boxed candies and canned beverages displayed on a colorful Mexican blanket\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TheCutSnacks_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Snack and drink offerings at The Cut’s “Concessiontainer.” \u003ccite>(Noise Pop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moviegoing logistics are as straightforward as they are charming. When buying a ticket, moviegoers choose their seating type — a canvas sling chair or Big Joe bean bag — and large blankets are free to borrow at the venue for cooler evenings. Warm hats are for sale in the adorable red “Concessiontainer,” along with snacks, soda and adult beverages from \u003ca href=\"https://www.monarchsf.com/\">Monarch\u003c/a>. (Like any other theater, no food or drink from outside the venue is allowed.) All are welcome, including babies and on-leash pets. Cash is not accepted. Tickets are priced per show, typically $16.75 for a deck chair or $26.75 for a bean bag and popcorn, plus Eventbrite fees. Monthly passes for unlimited access sell for just $29.99.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The venue has honed a certain j\u003cem>e ne sais quoi\u003c/em> of what plays best on a huge, vivid screen: big-budget newer releases, animated features, beloved throwbacks, and action flicks. There’s also seasonal sports and cultural programming. For example, the July calendar features numerous Major League Soccer and UEFA Champions League games, as well as the FIFA Women’s World Cup. (Sports broadcasts don’t have an entry fee but do require registering with the venue.)\u003c/p>\n\u003cp>Additionally, this month marks the partially-in-person return of the 17th annual \u003ca href=\"https://www.frozenfilmfestival.com/\">San Francisco Frozen Film Festival\u003c/a> (SFFFF), which is hosted only at The Cut Outdoor Cinema and online. The longtime SF festival went entirely virtual the past three years and is maintaining that option. But it will also screen new hyperlocal work at The Cut for the better part of a week starting on Wednesday, July 12, partnering with this inclusive physical venue to showcase work by filmmakers who are young, from marginalized communities, or creating socially-conscious art. Festival passes are $25, with film screenings also priced individually.\u003c/p>\n\u003cp>While The Cut Outdoor Cinema is open year-round, some of this summer’s outdoor moviegoing options in the Bay Area are timed for lazy summer days and (slightly) warmer nights. Most screenings are free-of-charge in public spaces.\u003c/p>\n\u003cfigure id=\"attachment_13931428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg\" alt=\"Nighttime view of crowd on blankets in Dolores Park, large inflated screen in distance with three nuns and dialogue below.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13931428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Sister-Act-2-at-Dolores-Park-2022_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Sister Act 2’ playing at Dolores Park in 2022 as part of Sundown Cinema. \u003ccite>(Courtesy SF Parks Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sundown Cinema in SF Parks\u003c/h2>\n\u003cp>Now in its fifth year, the San Francisco Parks Alliance \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">2023 Sundown Cinema\u003c/a> series kicked off on June 8 and is currently underway. Through October, catch a selection of all-ages movies at parks across the city. Join the \u003cem>Mamma Mia\u003c/em> singalong at Dolores Park on Aug. 18 or get in the Halloween spirit with \u003cem>Ghostbusters\u003c/em> (the 1984 original) at McLaren Park’s Jerry Garcia Amphitheater on Oct. 20. Showtimes vary by screening and park; check the SF Parks Alliance website for more information.\u003c/p>\n\u003ch2>Movie Nights in Mountain View\u003c/h2>\n\u003cp>A similar initiative enables peninsula-based movie buffs to catch free screenings at various Mountain View parks on Friday nights through August 11. The city’s \u003ca href=\"https://www.mountainview.gov/Home/Components/Calendar/Event/532/18\">Summer Outdoor Movie Night Series\u003c/a> includes \u003cem>Puss in Boots: The Last Wish\u003c/em> at Stevenson Park on July 21 and \u003cem>Black Panther: Wakanda Forever\u003c/em> at Eagle Park on Aug. 4. All shows begin at 8:30 p.m. or dark.\u003c/p>\n\u003ch2>Saturday Movies in San José\u003c/h2>\n\u003cp>San José’s downtown \u003ca href=\"https://sjdowntown.com/starlight-cinema/\">Starlight Cinema\u003c/a> also returns this year, staging Saturday movie nights in St. James Park. The 2023 lineup includes \u003cem>Ferris Bueller’s Day Off\u003c/em> on July 15, Moana on July 29, and \u003cem>Back to the Future\u003c/em> on Aug. 5. The films all start around 8:30 p.m., with pre-movie lawn games available an hour before showtime.\u003c/p>\n\u003ch2>August at BAMPFA\u003c/h2>\n\u003cp>The Berkeley Art Museum and Pacific Film Archive hosts another free summer series on its huge outdoor screen at the corner of Addison and Oxford Streets. The three-film program \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-art-animation\">focuses on animated features\u003c/a>, with \u003cem>Toy Story 2\u003c/em> on Aug. 3, \u003cem>Finding Nemo\u003c/em> on Aug. 17, and \u003cem>Persepolis\u003c/em> on Aug. 31. All screenings begin at 7 p.m.\u003c/p>\n\u003ch2>A Farm Film\u003c/h2>\n\u003cp>Free in Fremont on Saturday, Aug. 12 at 8 p.m., Ardenwood Historic Farm presents \u003cem>Lightyear\u003c/em> at this \u003ca href=\"https://anc.apm.activecommunities.com/ebparks/activity/search/detail/48601\">family-friendly sunset screening\u003c/a>. BYO chairs, snacks, and a flashlight. No pets.\u003c/p>\n\u003ch2>Local Flicks in Bernal\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating 20 years of screening diverse work by local filmmakers for no charge, the \u003ca href=\"https://bhoutdoorcine.org/\">Bernal Heights Outdoor Cinema\u003c/a> returns for three nights on September 8, 9 and 15. On Saturday, Sept. 9, make your way to Precita Park for a full evening of short film screenings, beginning at 6 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The League’ Joyfully Reframes the Heyday of Black Baseball",
"headTitle": "‘The League’ Joyfully Reframes the Heyday of Black Baseball | KQED",
"content": "\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.[aside postid='arts_13875504']\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Richard E. Grant and Daryl McCormack Shine in Literary Thriller, ‘The Lesson’",
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"content": "\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>[aside postid='arts_13931189']This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P0wnu-1_8-M\u003c/p>\n\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>[aside postid='arts_13930824']McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\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/P0wnu-1_8-M'\n title='//www.youtube.com/embed/P0wnu-1_8-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp",
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"content": "\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\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/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done?",
"headTitle": "An Orson Welles Film Was Horribly Edited — Will Cinematic Justice Finally Be Done? | KQED",
"content": "\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/reel/CqRu31tD2nh\u003c/p>\n\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>[aside postid='futureofyou_202943']“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CptsxGHj52l\u003c/p>\n\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>[aside postid='arts_10134762']“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcBDDb2uv8_/\u003c/p>\n\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the greatest American directors of the 20th century is known for only a few films.\u003c/p>\n\u003cp>After Orson Welles made \u003ca href=\"https://www.npr.org/2011/09/13/140436786/citizen-kane-at-70-film-school-in-a-box-for-the-serious-cinephile\">his masterpiece \u003cem>Citizen Kane\u003c/em>\u003c/a> in 1941\u003cem>,\u003c/em> he fought bitterly with the studios that released his subsequent films — often after they bowdlerized Welles’ work. Films such as \u003cem>The Lady from Shanghai \u003c/em>and\u003cem> The Magnificent Ambersons \u003c/em>were drastically changed and cut, altering the auteur’s vision.\u003c/p>\n\u003cp>Now, a Welles superfan named \u003ca href=\"https://www.instagram.com/theambersonsproject/\">Brian Rose\u003c/a> — himself an accomplished filmmaker — has used animation and countless hours of painstaking research to recreate missing footage from \u003cem>The Magnificent Ambersons.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welles started filming what was intended to be his second masterpiece in 1941, hot from the success of \u003cem>Citizen Kane\u003c/em>. The movie is based on a Pulitzer Prize-winning novel by Booth Tarkington.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welles, who had already adapted the novel for radio, wanted to tell a timeless story about Americans buffeted by unsettling new technology and economic decline through the fortunes of a small town’s richest family. He was given a princely budget and built an entire mansion with moveable walls for filming. But costs kept mounting and RKO studio executives disliked the film’s dark take on American aristocracy, especially in the jingoistic era before World War II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The studio took his 131-minute version of \u003cem>The Magnificent Ambersons\u003c/em>. They cut it down to 88 minutes,” says \u003ca href=\"https://www.wellesnet.com/author/ray-kelly/\">Ray Kelly\u003c/a>, who runs \u003ca href=\"https://www.wellesnet.com/\">the Orson Welles fansite Wellesnet\u003c/a>. “Not only that, they took out the ending, which was rather bleak, and replaced it with a very Hollywood happy ending that doesn’t seem to fit the mood of the film in total.”\u003c/p>\n\u003cp>All in all, Kelly says, only 13 scenes out of 73 were left untouched. And despite all the studio’s re-editing and the unconvincing happy ending, \u003cem>The Magnificent Ambersons\u003c/em> was still a massive flop. RKO burned its silver nitrate negatives to salvage the silver and make space to store other movies.\u003c/p>\n\u003cp>“So Welles’ version has been lost to history,” Kelly says.\u003c/p>\n\u003cp>Not so fast, says filmmaker Brian Rose. “Fortunately, the film is remarkably well-documented for a film that was so badly altered,” he says. “There is quite a lot that can be inferred from the surviving materials.”\u003c/p>\n\u003cp>So that’s what he’s doing, using animation and voice actors to fill the gaps.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rose is not the first to attempt to reconstruct \u003cem>The Magnificent Ambersons\u003c/em>. Several other Welles enthusiasts have attempted to correct what Kelly calls “the challenge of undoing a cinematic injustice” through various means. But none have used animation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of it was based on photographs and on diagrams of camera placements and descriptions of scenes,” Rose explains. Plus, new technology.\u003c/p>\n\u003cp>“Basically, in a 3D environment, I rebuilt all the sets from diagrams and photographs,” he continues. “The challenge was populating them with characters. I took for inspiration the original storyboards, which were hand-drawn pencil and charcoal, very ethereal looking, kind of like the world of the Ambersons. They feel like there’s a haze over them. So even when I do take the artistic license of creating these scenes in animation, they still draw a reference to Welles’ original artistic vision.”\u003c/p>\n\u003cp>There is also a bit of a haze over this project regarding intellectual property rights and how legal it is to be animating this fan version of\u003cem> The Magnificent Ambersons\u003c/em>. “The thought was to beg forgiveness later,” Rose admits.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker is not going to get rich with this passion project. Indeed, he’s sunk a considerable amount of his own resources into what he hopes is a respectful and scholarly transformational work.\u003c/p>\n\u003cp>Rose hopes to eventually share his version of \u003cem>The Magnificent Ambersons \u003c/em>with other Orson Welles fanatics. A screening is planned \u003ca href=\"http://libwww.freelibrary.org/blog/post/5041\">as part of a series at the Free Library of Philadelphia\u003c/a>. And he’d love for it to be packaged as part of a Criterion Collection edition. In the era of TikTok, it’s an homage to a wounded film.\u003c/p>\n\u003cp>\u003cem>Edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento \u003c/em>\u003c/a>\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+Orson+Welles+film+was+horribly+edited+%E2%80%94+will+cinematic+justice+finally+be+done%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>[aside postid='arts_13927774']Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SoNvk5N-MKo\u003c/p>\n\u003cp>Wall, Weigel and Gallo’s individual stories are compelling and intimately told in a way that, even if \u003cem>Every Body\u003c/em> had only focused on the trio, it would still have been an essential portrait of intersex lives and realities. Where the film goes above and beyond, however, is in how it explains the history and rationale of the medical professionals who, for so long, forced unnecessary surgical procedures on intersex infants and youth. One gets the distinct impression that these monumental decisions — attempting to force intersex children into the gender binary — were often made casually and, in many cases, without much parental input. One also gets the unsettling feeling that they are probably still happening in more places than they should be.\u003c/p>\n\u003cp>[aside postid='arts_13929913']\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Certain documentaries have stuck with me. Especially those about people who’ve survived physical violations only to suffer mental and emotional violations in their fight for justice. I’m thinking of 2012’s \u003cem>The Invisible War\u003c/em>, about the handling of sexual assaults in the military, and 2015’s \u003cem>The Hunting Ground\u003c/em>, about survivors of on-campus sexual assault. Both left me with a burning pit in my stomach long after the credits rolled.\u003c/p>\n\u003cp>I was reminded of that sensation while watching the brand new documentary, \u003cem>Every Body\u003c/em>. At times, particularly towards its end, the new film — all about the ‘I’ in LGBTQIA — leans hard into themes of hope and optimism. But \u003cem>Every Body\u003c/em>’s core does such a good job of explaining the litany of wrongs historically done to American intersex people that a deep sense of injustice is hard to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13930826\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/every_body.jpg\" alt=\"\" width=\"510\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/every_body-160x237.jpg 160w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">‘Every Body’ documents — and celebrates — the lives of three intersex people.\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of \u003cem>Every Body\u003c/em> (directed by Julie Cohen, who was also responsible for 2018’s excellent \u003ca href=\"https://www.imdb.com/title/tt7689964/?ref_=nv_sr_srsg_0_tt_5_nm_3_q_RBG\">\u003cem>RBG\u003c/em>\u003c/a>) are three enormously charismatic and likable intersex folks. There’s Sean Saifa Wall (he/him) who was born with an ambiguous gender, but surgically forced into a female-appearing body in infancy. It was a decision made by doctors to, according to medical notes, “protect [Wall’s] parents’ emotional wellbeing.” Wall is clear here that he felt like a male from day one and has been living with the consequences of that early medical intervention ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s Alicia Roth Weigel (she/they) who was born with XY chromosomes, but always outwardly presented as female. Alicia was born with internal testes instead of a uterus, but grew up being told to keep it a secret from everyone in her life, including her own brother. (At one point here, she admits to carrying tampons in her purse during her teens in order to avoid scrutiny about her lack of a period.) Weigel first came out publicly in 2017 when \u003ca href=\"https://www.youtube.com/watch?v=ZFjpr9DnAR4\">she testified before the Texas Congress\u003c/a>, arguing against the state’s \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\">controversial bathroom bill\u003c/a>, which was ultimately struck down.\u003c/p>\n\u003cp>Finally, there’s River Gallo (they/them), who was raised as a boy — and is still misgendered by their own mother — despite being born without testes. Gallo was given prosthetic testicles in their teens and had almost no say in their medical treatment whatsoever. (Gallo also received zero professional psychological support at the time.) Despite a somewhat confusing upbringing, Gallo has since learned to fully embrace their intersex qualities. And they are all the more radiant for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Every Body\u003c/em> traces the roots of these damaging practices back to a psychologist named John Money, who argued that gender identity could be fashioned externally and via social constructs, and was not in fact, self-directed. Money’s treatment of one particular patient in the 1970s, David Reimer, can only be described as an unmitigated, gut-wrenching disaster. Reimer’s story may be agonizing to watch now, but it contains essential lessons around the importance of allowing individuals — all individuals — to self-identify their own genders.\u003c/p>\n\u003cp>One is struck at the end of these engrossing 92 minutes just how misunderstood intersex people remain in 2023, and how much their stories — searing and impactful though they are — have been neglected thus far. \u003cem>Every Body\u003c/em> very effectively seeks to rectify that. Once you watch it, you’ll never forget the ‘I’ in LGBTQI ever again.\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>‘\u003ca href=\"https://www.focusfeatures.com/every-body/\">Every Body\u003c/a>’ opens in Bay Area theaters on June 30, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A slate of big-budget summer movies from \u003cem>Indiana Jones and the Dial of Destiny\u003c/em> to a live-action \u003cem>Barbie\u003c/em> film will be released in the coming weeks as Hollywood gears up for blockbuster season. But behind the scenes, as the Hollywood writers strike enters its third month, the impact of the current conflict between screenwriters and major film studios and streamers is coming into focus. Most productions have ground to a halt as future films and TV series are being delayed, if not canceled.\u003c/p>\n\u003cp>One of the most high-profile productions canceled by the strike is a \u003ca href=\"https://www.indiewire.com/news/breaking-news/sam-esmail-metropolis-series-scrapped-1234876313/\">new TV adaptation of Fritz Lang’s classic 1927 sci-fi film \u003cem>Metropolis\u003c/em>\u003c/a>. Apple TV+ reportedly scrapped acclaimed showrunner Sam Esmail’s years-in-the-making series just as it was supposed to begin filming this summer in Australia. Max’s new Batman spin-off series, \u003cem>The Penguin,\u003c/em> starring Colin Farrell, has also been halted, even through a teaser for the show had been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAPifwlWBP0\u003c/p>\n\u003cp>With many writers on the picket lines no longer participating in any scripting or revisions, many existing series are no longer filming. Shooting for the next season of the \u003cem>Yellowstone\u003c/em> prequel 1\u003cem>923\u003c/em> on Paramount+, starring Harrison Ford and Helen Mirren, has been suspended until the writers strike ends. Other popular shows that are not currently filming include future seasons of \u003cem>Severance\u003c/em>, \u003cem>Abbott Elementary\u003c/em>, \u003cem>Euphoria\u003c/em>, \u003cem>The Last of Us\u003c/em>, \u003cem>Cobra Kai\u003c/em> and the final season of Netflix’s \u003cem>Stranger Things\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/strangerwriters/status/1654955071631765506\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the delays aren’t all necessarily due to the strike. In recent months, studios and streamers have been consolidating and cutting costs through layoffs and cancelations. Some insiders speculate the studios may use the strike as an excuse to enact “force majeure,” contract clauses allowing them to cancel deals with creators and showrunners.\u003c/p>\n\u003cp>[aside postid='arts_13930931']It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>[aside postid='arts_13928702']The Emmy Awards, which are set to air on FOX in September, could be delayed for months. \u003ca href=\"https://www.nytimes.com/2023/06/21/business/media/emmy-awards-writers-strike.html?partner=slack&smid=sl-share\">Reports in \u003cem>The New York Times\u003c/em>\u003c/a>, \u003cem>The Hollywood Reporter\u003c/em> and other outlets suggest the organizers are discussing various contingency plans if the writers strike isn’t resolved this summer. Nominations are still scheduled to be announced Tuesday, July 12.\u003c/p>\n\u003cp>To manage the personal financial costs of a prolonged strike, many writers on the picket lines say they are relying on their fast-dwindling savings. Industry guilds, the Entertainment Community Fund, Women in Film and others have created emergency relief funds to support members.\u003c/p>\n\u003cp>https://twitter.com/jonhurwitz/status/1657094421396201473\u003c/p>\n\u003cp>The shutdowns are also impacting many others working behind the scenes on film crews, including cinematographers, editors, grips, costumers, caterers and truck drivers. According to Film LA, which handles permits for film shoots on city streets and other locations, there were only two scripted TV series shooting in Los Angeles this week. Normally at this time of year, there would be dozens of TV projects in production.\u003c/p>\n\u003cp>[aside postid='arts_13930083']The work stoppage affects many businesses that rely on the Hollywood economy, including restaurants, hotels and transportation. According to the Milken Institute, the 2008 writers strike, which lasted 100 days, cost the LA economy more than $2 billion in lost revenue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For audiences accustomed to a steady — and at times overflowing — stream of new films and TV series, this dramatic slowdown in productions will have a palpable impact in the year to come.\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=Not+coming+to+a+screen+near+you+%E2%80%93+viewers+will+soon+feel+effects+of+the+writers+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It remains unclear how long the Writers Guild of America strike against studios and streamers in the Alliance of Motion Picture and Television Producers will continue, but many in Hollywood estimate it won’t be resolved before September.\u003c/p>\n\u003cp>This week, leaders of the other major Hollywood Union, SAG-AFTRA, which represents actors and other performers, \u003ca href=\"https://www.youtube.com/watch?v=iQv94Odx7DI&t=2s\">tried to assure members that their contract negotiations with the AMPTP were going well\u003c/a>. Almost immediately, more than 300 actors, including Meryl Streep, Jennifer Lawrence and Quinta Brunson, \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-news/jennifer-lawrence-meryl-streep-actors-threaten-strike-sag-aftra-letter-exclusive-1234779586/\">sent a letter to their union\u003c/a> saying they’re ready to strike for the best deal possible. Their current contract ends Friday and members have already overwhelmingly voted to authorize a strike. (Many of NPR’s employees are members of SAG-AFTRA. Broadcast members are covered by a different contract than TV/Theatrical members though, so we won’t be on strike if one is called, and our own contract is not affected by these negotiations.)\u003c/p>\n\u003cp>The writers strike and the looming possibility of an actors strike is also significantly affecting film and TV marketing plans as well as the upcoming awards season.\u003c/p>\n\u003cp>Every year at Comic-Con International: San Diego — the big annual convention for comic book and sci fi fans — Hollywood studios host filled-to-capacity presentations of their upcoming movies. Last year in the convention’s renowned Hall H, Marvel brought out the stars of its film franchises \u003cem>Ant Man \u003c/em>and \u003cem>Guardians of the Galaxy\u003c/em>. \u003ca href=\"https://www.youtube.com/watch?v=mwPTfpSTGzk\">\u003cem>Black Panther\u003c/em> director Ryan Coogler was onstage with his cast and offered the crowd the first sneak peak of \u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/a>. But this year, Marvel and Disney are not making any big presentations. Neither are Netflix, Sony or Universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Original Princess Leia Dress Found in an Attic Could Be Yours — for as Much as $2M",
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"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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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
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},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"source": "npr"
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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