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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2733541119&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia. Her latest, \u003cem>\u003ca href=\"https://www.onthedividemovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, follows the stories of three Latinx people whose lives interconnect through the last abortion clinic on the U.S./Mexico border. The film premiered at the Tribeca Film Festival in 2021, and is available to \u003ca href=\"https://www.pbs.org/pov/watch/onthedivide/video-on-the-divide/\">stream free of charge through July 18, 2022 at POV\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTLpmt-j7cA\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights. She’s also made \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre,\u003c/em>\u003c/a> which follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation, and \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>, an animated film about her father’s immigration experience to the U.S. from Peru.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva, which originally aired in March 2021.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space—a community that maybe I identify with, but I’m not a part of—and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2733541119&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia. Her latest, \u003cem>\u003ca href=\"https://www.onthedividemovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, follows the stories of three Latinx people whose lives interconnect through the last abortion clinic on the U.S./Mexico border. The film premiered at the Tribeca Film Festival in 2021, and is available to \u003ca href=\"https://www.pbs.org/pov/watch/onthedivide/video-on-the-divide/\">stream free of charge through July 18, 2022 at POV\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BTLpmt-j7cA'\n title='//www.youtube.com/embed/BTLpmt-j7cA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights. She’s also made \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre,\u003c/em>\u003c/a> which follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation, and \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>, an animated film about her father’s immigration experience to the U.S. from Peru.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva, which originally aired in March 2021.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space—a community that maybe I identify with, but I’m not a part of—and think that I’m an expert.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gabby Giffords Documentary Arrives as Gun Debates Stay Center Stage",
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"content": "\u003cp>In the two years documentary filmmakers shadowed former Congresswoman Gabby Giffords, the most jarring moment for them was in the kitchen of her Tucson, Arizona, home.\u003c/p>\n\u003cp>As cameras were rolling, she and her husband, Sen. Mark Kelly, nonchalantly opened the freezer. Kelly grabbed a plastic container and revealed it holds the piece of Giffords’ skull that had to be removed after she was shot.\u003c/p>\n\u003cp>“This stays in here next to the empanadas and the sliced mango,” Kelly said.\u003c/p>\n\u003cp>Giffords’ response was “Sera, sera,” referencing the song “Que sera, sera” or “What will be, will be.”\u003c/p>\n\u003cp>The scene from the film is emblematic of Giffords’ openness to reflect on but not languish in the 2011 shooting that changed her life. That desire is what led her to allow cameras into her life for two years—all as a pandemic was progressing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For me it has been really important to move ahead, to not look back,” Giffords told the Associated Press while in Los Angeles to promote the film. “I hope others are inspired to keep moving forward no matter what.”\u003c/p>\n\u003cp>From the filmmakers behind Academy Award-nominated Ruth Bader Ginsburg documentary \u003cem>RBG\u003c/em>, the film \u003cem>Gabby Giffords Won’t Back Down\u003c/em> is partly an intimate look at Giffords’ recovery after the January 2011 shooting that left six people dead and 13 others wounded outside a Tucson supermarket. But the movie, which arrives in theaters July 15, is also an insider view of how she and Kelly navigated gun control campaigns and later a Senate campaign. The movie could not be any timelier with gun reform being debated in government, schools and the U.S. Supreme Court.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9FhlFKwE45Y\u003c/p>\n\u003cp>“It’s just a fascinating story about how Gabby came back from an injury that so many people just don’t even survive,” said Betsy West, a co-director. “After meeting Gabby on Zoom, we saw just what a great communicator she is. And we had a sense that we might have a lot of fun despite the very difficult subject of gun violence.”\u003c/p>\n\u003cp>At the same time, they wanted to strike the right balance of how much to look back at the shooting.\u003c/p>\n\u003cp>“We certainly didn’t want to shy away from Jan. 8. Obviously, that’s something that changed her life,” said Julie Cohen, the film’s other director. “But Gabby is defined ultimately by everything that she’s achieved before and after that. We wanted it to show that achievement.”\u003c/p>\n\u003cp>The film also doesn’t avoid discussing Jared Lee Loughner, the gunman in the Tucson shooting. Interviews with law enforcement, journalists and a video made by Loughner lay out how he was able to buy a semiautomatic weapon despite a history of mental illness. He was sentenced in 2012 to life in federal prison without parole.\u003c/p>\n\u003cp>“We did not want to dwell on the shooter but we also wanted to explain what had happened,” West said. “Gabby and Mark did not shy away from going to the sentencing hearing to make a very impassioned plea for life imprisonment. That was a very important part of the film.”\u003c/p>\n\u003cp>[aside postID='arts_13886669,arts_13914548,pop_105305']Recent mass shootings including the deaths of 19 schoolchildren and two teachers in Uvalde, Texas, and 10 supermarket shoppers—all Black—in Buffalo, New York, have put gun violence back at the forefront. The U.S. Supreme Court on Thursday \u003ca href=\"https://www.npr.org/2022/06/23/1102995474/supreme-court-opinion-guns\" target=\"_blank\" rel=\"noopener noreferrer\">struck down a New York gun permitting law\u003c/a>. The case involves a state law that makes it difficult for people to get a permit to carry a gun outside the home. The justices said that requirement violates the Second Amendment right to “keep and bear arms.”\u003c/p>\n\u003cp>Also on Thursday, the \u003ca href=\"https://www.npr.org/2022/06/23/1107234183/senate-passes-gun-control-bill-and-sends-it-to-the-house\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Senate easily passed a bipartisan gun violence bill\u003c/a>. Weeks of closed-door talks resulted in an incremental but landmark package in response to mass shootings. The House will vote Friday.\u003c/p>\n\u003cp>Much like after Uvalde, the documentary recaps how gun control debates reached a fever pitch after 26 children and two teachers were shot to death by a gunman at a Newtown, Connecticut, school. Giffords and other advocates, including some Newtown parents, were called “props” by National Rifle Association officials. Having spent time with Giffords and others impacted by gun violence, the film’s directors say their voices are central to the discourse.\u003c/p>\n\u003cp>“To say that somehow Gabby shouldn’t be speaking about gun violence because she’s experienced violence? It just doesn’t make any sense,” Cohen said.\u003c/p>\n\u003cp>A crucial element of the documentary came from videos Kelly had of Giffords in the Tucson hospital and at a rehab facility in Houston. These included then-President Barack Obama—who is interviewed in the film—and Michelle Obama’s visit to an unconscious Giffords’ bedside. They also include the first few months of speech therapy.\u003c/p>\n\u003cp>The bullet penetrated the left hemisphere of Giffords’ brain that services language ability, causing her to suffer from aphasia. You see in old videos Giffords sob out of frustration as she struggles to read and get stuck on saying “chicken.”\u003c/p>\n\u003cp>Giffords said watching those videos can make her sad, but she is determined to be upbeat.\u003c/p>\n\u003cp>“I’m getting better. I’m getting (better) slowly but I’m getting (better) surely,” Giffords said.\u003c/p>\n\u003cp>\u003cem>Giffords\u003c/em> is the third movie West and Cohen have produced on a female icon. Last year, they released \u003cem>Julia\u003c/em>, a documentary on the influence of TV chef and author Julia Child. \u003cem>RBG\u003c/em> was a critical and commercial hit when it came out four years ago. The filmmakers say while Giffords and Supreme Court Justice Ginsburg, who died in 2020 at age 87, are very different personalities, they think viewers will see a lot of similarities. They both have toughness, persistence, optimism and are at the heart of “feminist love stories.”\u003c/p>\n\u003cfigure id=\"attachment_13915223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-24-at-12.40.34-PM-800x403.png\" alt=\"Gabby Giffords stands behind a podium, gesturing theatrically to the audience. She is standing in front of a huge American flag.\" width=\"800\" height=\"403\">\u003cfigcaption class=\"wp-caption-text\">Gabby Giffords on the campaign trail for her husband, Sen. Mark Kelly. \u003ccite>('Gabby Giffords Won't Back Down')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giffords often has to remind people that she still has a voice even if speaking doesn’t come easily—whether it’s on gun safety or other issues. She said she genuinely feels the climate is different now but people have to be patient because change is “slow,” and Washington, D.C., is “really slow.”\u003c/p>\n\u003cp>She plans to refocus on making tougher federal background checks a reality through her \u003ca href=\"https://giffords.org/action/gun-owners-for-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Gun Owners for Safety\u003c/a> coalition. The bill the Senate approved would only strengthen background checks for buyers age 18 to 20.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If there’s one message she wants viewers to take from the documentary, it’s “fight, fight, fight every day,” Giffords said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gabby+Giffords+documentary+comes+as+gun+debates+stay+on+center+stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For me it has been really important to move ahead, to not look back,” Giffords told the Associated Press while in Los Angeles to promote the film. “I hope others are inspired to keep moving forward no matter what.”\u003c/p>\n\u003cp>From the filmmakers behind Academy Award-nominated Ruth Bader Ginsburg documentary \u003cem>RBG\u003c/em>, the film \u003cem>Gabby Giffords Won’t Back Down\u003c/em> is partly an intimate look at Giffords’ recovery after the January 2011 shooting that left six people dead and 13 others wounded outside a Tucson supermarket. But the movie, which arrives in theaters July 15, is also an insider view of how she and Kelly navigated gun control campaigns and later a Senate campaign. The movie could not be any timelier with gun reform being debated in government, schools and the U.S. Supreme Court.\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/9FhlFKwE45Y'\n title='//www.youtube.com/embed/9FhlFKwE45Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s just a fascinating story about how Gabby came back from an injury that so many people just don’t even survive,” said Betsy West, a co-director. “After meeting Gabby on Zoom, we saw just what a great communicator she is. And we had a sense that we might have a lot of fun despite the very difficult subject of gun violence.”\u003c/p>\n\u003cp>At the same time, they wanted to strike the right balance of how much to look back at the shooting.\u003c/p>\n\u003cp>“We certainly didn’t want to shy away from Jan. 8. Obviously, that’s something that changed her life,” said Julie Cohen, the film’s other director. “But Gabby is defined ultimately by everything that she’s achieved before and after that. We wanted it to show that achievement.”\u003c/p>\n\u003cp>The film also doesn’t avoid discussing Jared Lee Loughner, the gunman in the Tucson shooting. Interviews with law enforcement, journalists and a video made by Loughner lay out how he was able to buy a semiautomatic weapon despite a history of mental illness. He was sentenced in 2012 to life in federal prison without parole.\u003c/p>\n\u003cp>“We did not want to dwell on the shooter but we also wanted to explain what had happened,” West said. “Gabby and Mark did not shy away from going to the sentencing hearing to make a very impassioned plea for life imprisonment. That was a very important part of the film.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Recent mass shootings including the deaths of 19 schoolchildren and two teachers in Uvalde, Texas, and 10 supermarket shoppers—all Black—in Buffalo, New York, have put gun violence back at the forefront. The U.S. Supreme Court on Thursday \u003ca href=\"https://www.npr.org/2022/06/23/1102995474/supreme-court-opinion-guns\" target=\"_blank\" rel=\"noopener noreferrer\">struck down a New York gun permitting law\u003c/a>. The case involves a state law that makes it difficult for people to get a permit to carry a gun outside the home. The justices said that requirement violates the Second Amendment right to “keep and bear arms.”\u003c/p>\n\u003cp>Also on Thursday, the \u003ca href=\"https://www.npr.org/2022/06/23/1107234183/senate-passes-gun-control-bill-and-sends-it-to-the-house\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Senate easily passed a bipartisan gun violence bill\u003c/a>. Weeks of closed-door talks resulted in an incremental but landmark package in response to mass shootings. The House will vote Friday.\u003c/p>\n\u003cp>Much like after Uvalde, the documentary recaps how gun control debates reached a fever pitch after 26 children and two teachers were shot to death by a gunman at a Newtown, Connecticut, school. Giffords and other advocates, including some Newtown parents, were called “props” by National Rifle Association officials. Having spent time with Giffords and others impacted by gun violence, the film’s directors say their voices are central to the discourse.\u003c/p>\n\u003cp>“To say that somehow Gabby shouldn’t be speaking about gun violence because she’s experienced violence? It just doesn’t make any sense,” Cohen said.\u003c/p>\n\u003cp>A crucial element of the documentary came from videos Kelly had of Giffords in the Tucson hospital and at a rehab facility in Houston. These included then-President Barack Obama—who is interviewed in the film—and Michelle Obama’s visit to an unconscious Giffords’ bedside. They also include the first few months of speech therapy.\u003c/p>\n\u003cp>The bullet penetrated the left hemisphere of Giffords’ brain that services language ability, causing her to suffer from aphasia. You see in old videos Giffords sob out of frustration as she struggles to read and get stuck on saying “chicken.”\u003c/p>\n\u003cp>Giffords said watching those videos can make her sad, but she is determined to be upbeat.\u003c/p>\n\u003cp>“I’m getting better. I’m getting (better) slowly but I’m getting (better) surely,” Giffords said.\u003c/p>\n\u003cp>\u003cem>Giffords\u003c/em> is the third movie West and Cohen have produced on a female icon. Last year, they released \u003cem>Julia\u003c/em>, a documentary on the influence of TV chef and author Julia Child. \u003cem>RBG\u003c/em> was a critical and commercial hit when it came out four years ago. The filmmakers say while Giffords and Supreme Court Justice Ginsburg, who died in 2020 at age 87, are very different personalities, they think viewers will see a lot of similarities. They both have toughness, persistence, optimism and are at the heart of “feminist love stories.”\u003c/p>\n\u003cfigure id=\"attachment_13915223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-24-at-12.40.34-PM-800x403.png\" alt=\"Gabby Giffords stands behind a podium, gesturing theatrically to the audience. She is standing in front of a huge American flag.\" width=\"800\" height=\"403\">\u003cfigcaption class=\"wp-caption-text\">Gabby Giffords on the campaign trail for her husband, Sen. Mark Kelly. \u003ccite>('Gabby Giffords Won't Back Down')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giffords often has to remind people that she still has a voice even if speaking doesn’t come easily—whether it’s on gun safety or other issues. She said she genuinely feels the climate is different now but people have to be patient because change is “slow,” and Washington, D.C., is “really slow.”\u003c/p>\n\u003cp>She plans to refocus on making tougher federal background checks a reality through her \u003ca href=\"https://giffords.org/action/gun-owners-for-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Gun Owners for Safety\u003c/a> coalition. The bill the Senate approved would only strengthen background checks for buyers age 18 to 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If there’s one message she wants viewers to take from the documentary, it’s “fight, fight, fight every day,” Giffords said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gabby+Giffords+documentary+comes+as+gun+debates+stay+on+center+stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Baz Luhrmann's 'Elvis' Is All Sequins, No Soul",
"headTitle": "Baz Luhrmann’s ‘Elvis’ Is All Sequins, No Soul | KQED",
"content": "\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wdqh5sEZe9Y\u003c/p>\n\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13915171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg\" alt=\"An actor playing Elvis Presley sings into a microphone as audience members reach out to touch him\" width=\"800\" height=\"332\" class=\"size-medium wp-image-13915171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-800x332.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1020x424.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-160x66.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-768x319.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1536x638.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-2048x851.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-TRL-88704_High_Res_JPEG-1920x798.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in ‘Elvis,’ co-written and directed by Baz Luhrmann. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review of \u003cem>Elvis\u003c/em>—the groaning, glitzy smorgasbord opening June 24, co-written and directed by Baz Luhrmann, the Australian filmmaker whose credo since \u003cem>Strictly Ballroom\u003c/em> (1992) is “nothing succeeds like excess”—must begin by acknowledging that Elvis Presley is a sequin-encrusted figment of our mythmaking machinery.\u003c/p>\n\u003cp>That is, everybody thinks they know Elvis’s story and, consequently, everybody thinks they know Elvis. He is immortal. But the realm of immortality is assuredly not the world of reality.\u003c/p>\n\u003cp>The same could be said of any number of pop-culture touchstones. Marilyn Monroe, Abraham Lincoln and Jesus Christ. Princess Diana and Dr. Martin Luther King, Jr. Lesser icons Jimi, Janis and Jim, as well as Jerry and Kurt, all have bungalows adjacent to the main house. Each has been masticated, milked and massaged to the point where it’s nearly impossible for any movie to offer a fresh perspective or a new insight. A film can only engage in dialogue with the myth, and either repeat, rehash or reject it (and who’s that brave or foolhardy?).\u003c/p>\n\u003cfigure id=\"attachment_13915172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg\" alt=\"A still from the film 'Elvis,' featuring a woman and three men, including Tom Hanks as Elvis's manager, dressed in 1950s attire.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-201208_ONSET_0549r_High_Res_JPEG-1920x1536.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Austin Butler as Elvis, Helen Thomson as Gladys, Tom Hanks as Colonel Tom Parker and Richard Roxburgh as Vernon in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Hugh Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann’s preposterous entry point is appointing Elvis’s manager and manipulator, Col. Tom Parker, as omniscient narrator. This calculating, ruthless parasite is the last person on Earth through whose eyes we want to see Elvis Presley. The character’s odiousness isn’t remotely mitigated by the casting of All-World good guy Tom Hanks, who plays the Colonel as a cross between Lyndon B. Johnson and the Penguin (another cigar-waving Warner Bros. villain) with a grotesque Mittel European accent.\u003c/p>\n\u003cp>The film’s conceit is that Parker was a huckster, a carnival-sideshow booster, a conman with an eye for talent and the knowhow to pick American pockets. Presley was Parker’s ticket from the big top to the big time, his unwitting puppet: a singular yet unformed talent, innocent yet sexy, ambitious yet devoted to his mother, a white admirer (and assimilator) of Memphis blues and gospel with more charisma than Brando or Dean.\u003c/p>\n\u003cfigure id=\"attachment_13915174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg\" alt=\"A Black woman portraying gospel singer Sister Rosetta Tharpe in a new film sings into a 1950s-style microphone\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/210125DAY68KKONSET01__3471-1920x1342.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer Yola in ‘Elvis’ as Sister Rosetta Tharpe, a gospel singer who heavily influenced Elvis Presley. \u003ccite>(Kane Skennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luhrmann presents this garish, sordid chunk of 1950s Americana in a rapid-fire, almost assaultive series of flamboyant set pieces. When he grants us a reprieve from the barrage by way of heart-to-heart conversations—Parker and Elvis atop an amusement park Ferris wheel, Elvis and his mama in her bedroom—the dialogue is so cloying and the performances so blatantly caricaturistic that we yearn for the blender to start up again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> would like us to see Elvis as a tragic figure, a pure talent with idealistic motives demoralized, derailed and defeated by the big, bad wolf of commercialism, as embodied by Parker. The truth is far more complicated, which is perhaps the most obvious and superfluous thing I can say about \u003cem>Elvis\u003c/em>. Heck, you knew that the moment you first heard that an Elvis movie was coming down the pike.\u003c/p>\n\u003cfigure id=\"attachment_13915175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg\" alt=\"An actor portraying Elvis Presley stares pensively out a limousine window while wearing sunglasses, as the window reflects neon lights outside.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-800x335.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1020x427.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-768x322.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1536x644.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-2048x858.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/rev-1-ELVIS-FF-00494_High_Res_JPEG-1920x804.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Austin Butler as Elvis in Warner Bros. Pictures’ ‘Elvis.’ \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the insult of an Australian filmmaker shooting this quintessentially American story entirely Down Under, with a mostly Australian crew and cast, and peddling it to us as valid or authentic (or as authentic as a black velvet painting). On the other hand, the American star doesn’t help matters: you could fill Kezar Stadium with Elvis impersonators who have better chops, sharper moves and more innate charisma than Austin Butler.\u003c/p>\n\u003cp>But the film’s greatest sin is presenting Elvis Presley as a triumph of performance and showmanship. His singing, especially in the 1950s, was an act of personal expression and, more often than not, a work of art. (Have you listened to \u003cem>Mystery Train\u003c/em> lately?) Luhrmann has no appreciation for the music, for Elvis’s instrument or, ultimately, for the artist’s soul.\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/Wdqh5sEZe9Y'\n title='//www.youtube.com/embed/Wdqh5sEZe9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m saddened by the idea that someone, somewhere, will come out of \u003cem>Elvis\u003c/em> asserting a greater understanding of Presley the artist. The inspiration, the interior process, the instinct, the creativity, the practice—at best, we get a couple fleeting moments of movie shorthand. \u003cem>Elvis\u003c/em> purports to want to probe beneath the surface, but Luhrmann is too impatient and too addicted to spectacle. The movie nods at Elvis’s artistic frustration in the ’60s, and his isolation, loneliness and sense of unfulfilled potential—his midlife crisis—in the ’70s, but they are merely feints.\u003c/p>\n\u003cp>\u003cem>Elvis\u003c/em> is (yawn) about the price of fame, which in this telling Parker collected and Elvis paid. It’s about the relentless selling of a commodity to a fickle yet always insatiable American public. A winking, nodding homage to the only U.S. industry that will never be outsourced, \u003cem>Elvis\u003c/em> embodies a more contemptuous view of the marks on the carnival midway—er, at the multiplex—than any expressed by even the most cynical film critic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Age is Just a Number in 'Good Luck to You, Leo Grande' and 'Cha Cha Real Smooth'",
"headTitle": "Age is Just a Number in ‘Good Luck to You, Leo Grande’ and ‘Cha Cha Real Smooth’ | KQED",
"content": "\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>[aside postid='pop_112397']The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgYVtqeVK3I\u003c/p>\n\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>[aside postid='arts_13914146']He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\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/VgYVtqeVK3I'\n title='//www.youtube.com/embed/VgYVtqeVK3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road",
"headTitle": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road | KQED",
"content": "\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>[aside postid='pop_105554']But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=00aP8m5sBJo\u003c/p>\n\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OL3EIVwZ60w&t=1s\u003c/p>\n\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3aUAiLU0TI\u003c/p>\n\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q7d0NRewzW4&t=1s\u003c/p>\n\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PwA6K_EmAQ\u003c/p>\n\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K48JkClgYIs\u003c/p>\n\u003cp>[aside postid='pop_105976']Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jc1C4Pw6rxo&list=PLtpFM3sDaV_gA7QfNrH01Upo1ppGvwUdm&index=2\u003c/p>\n\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dtuqejF0Jg8\u003c/p>\n\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFVxX3RtyhQ\u003c/p>\n\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/00aP8m5sBJo'\n title='//www.youtube.com/embed/00aP8m5sBJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\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/OL3EIVwZ60w'\n title='//www.youtube.com/embed/OL3EIVwZ60w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\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/J3aUAiLU0TI'\n title='//www.youtube.com/embed/J3aUAiLU0TI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\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/q7d0NRewzW4'\n title='//www.youtube.com/embed/q7d0NRewzW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\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/4PwA6K_EmAQ'\n title='//www.youtube.com/embed/4PwA6K_EmAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\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/K48JkClgYIs'\n title='//www.youtube.com/embed/K48JkClgYIs'\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>Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\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/Jc1C4Pw6rxo'\n title='//www.youtube.com/embed/Jc1C4Pw6rxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\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/dtuqejF0Jg8'\n title='//www.youtube.com/embed/dtuqejF0Jg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\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/zFVxX3RtyhQ'\n title='//www.youtube.com/embed/zFVxX3RtyhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It",
"headTitle": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It | KQED",
"content": "\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Saul Williams adapts and expands his 2016 album ‘MartyrLoserKing’ into a wild, weird and wonderful film.",
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"headline": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How an Underground Network of Women Facilitated Abortions Before Roe v. Wade",
"headTitle": "How an Underground Network of Women Facilitated Abortions Before Roe v. Wade | KQED",
"content": "\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”[aside postID='arts_13912860']\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>[aside postID='arts_13913248']Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Racist 'Star Wars' Fans Aren't New. Why Doesn't Disney Do More to Protect its Actors?",
"headTitle": "Racist ‘Star Wars’ Fans Aren’t New. Why Doesn’t Disney Do More to Protect its Actors? | KQED",
"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the Movies NPR Critics Are Looking Forward to This Summer",
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"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QRyyagJ9GPo'\n title='//www.youtube.com/embed/QRyyagJ9GPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Go8nTmfrQd8'\n title='//www.youtube.com/embed/Go8nTmfrQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0IOsk2Vlc4o'\n title='//www.youtube.com/embed/0IOsk2Vlc4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TWGvntl9itE'\n title='//www.youtube.com/embed/TWGvntl9itE'\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>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Goodfellas' Star Ray Liotta Dead at 67",
"headTitle": "‘Goodfellas’ Star Ray Liotta Dead at 67 | KQED",
"content": "\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ilzidi_J8Q\u003c/p>\n\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "'Goodfellas' Star Ray Liotta Dead at 67",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\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/2ilzidi_J8Q'\n title='//www.youtube.com/embed/2ilzidi_J8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Americanized’ Explores Identity On and Off the Basketball Court at CAAM Fest",
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"content": "\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\u003c/p>\n\u003cp>https://youtu.be/kDoBVpN5rY0\u003c/p>\n\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. [aside postid='arts_13823736']\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. [aside postid='arts_13913577']\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\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/kDoBVpN5rY0'\n title='//www.youtube.com/embed/kDoBVpN5rY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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