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"content": "\u003cp>\u003cem>\u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Geographies of Kinship\u003c/a>\u003c/em> is an engrossing film by Berkeley filmmaker Deann Borshay Liem that had me quietly weeping one moment and angrily yelling at the screen the next.\u003c/p>\n\u003cp>The documentary details the complex and often shocking history of how Korea became the largest exporter of babies in the world. \u003cem>Kinship\u003c/em>’s strength lies in how it humanizes the fallout of the adoption practices that found their footing during the Korean War, and became a booming business by the 1980s. The film’s heart is in its profiles of four adoptees born in Korea and raised in the West—two in America, one in Sweden and one in Switzerland. But it’s also bolstered by efficient explainers that detail how Korean culture and politics clashed in a perfect storm that turned orphans into an industry.\u003c/p>\n\u003cp>[aside postid='arts_13912887']As \u003cem>Kinship\u003c/em> so effectively explains, though the Korean children arriving in the West were, for decades, presented as orphans, that often was not the case. It’s true that the first orphans brought to the U.S. were some of the 100,000 Korean children who lost their parents in the war. But after some high-profile adoptions by Americans returning home, demand for Korean babies shot up. Soon, hundreds of children were being sent to America to live with new parents they’d never met before and knew nothing about. Despite the fact that many of them had living family members.\u003c/p>\n\u003cp>In \u003cem>Kinship\u003c/em>, this is the experience of Jane Jeong Trenka, whose Minnesotan parents were told they were adopting an orphan, only to have her arrive with family photos. Trenka’s birth mother sent regular letters to her American home throughout her life—correspondence Trenka did not get until she actively started checking the mailbox herself. Trenka’s birth mother, and thousands of women like her, had given her daughter up because she was caught in an impossible situation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Kx0UNkyEgU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until 2008, Korea’s children had to be in the hojuk—a registry that only acknowledged babies with male guardians—in order to acquire citizenship rights or access to an education. Put simply: no father, no future. And the Korean War left behind a lot of fatherless babies. These children were the result of rape, consensual affairs with American servicemen, or sex work. (Sex work that was sanctioned by the Korean government to keep the American forces happy.)\u003c/p>\n\u003cp>[aside postid='arts_13909125']Exacerbating the hojuk problem was the stigma that came with babies who were visibly mixed race. The automatic assumption was that their mother was a prostitute, impregnated by an American G.I. And the prevailing attitude in Korea was: if the father was American, then the baby belonged in America. Needless to say, not all of those who were adopted and sent overseas were guaranteed a happy ending.\u003c/p>\n\u003cp>Estelle Cooke-Sampson was born to a Korean mother and a Black American father. After years spent languishing in an orphanage, she was taken home by an American sergeant to live with him, his wife and his four sons. On arrival, despite her young age, Cooke-Sampson was treated like a domestic servant. That treatment persisted until she was able to extricate herself in her teens. Cooke-Sampson’s interviews about her early life in \u003ci>Kinship\u003c/i> are devastating, as is the footage of her trying in adulthood to find out where she came from. Watching her struggle to figure out her real birth date is quite stunning.\u003c/p>\n\u003cp>Yet more babies were abandoned after the mass industrialization of Korea began in 1961, and the poverty rates went up. Parents who couldn’t afford to send their kids to school sometimes gave them to orphanages where children were guaranteed a basic education.\u003c/p>\n\u003cfigure id=\"attachment_13913613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png\" alt=\"A white woman with blue eyes, wearing a white jacket and blue hat holds an Asian baby close to her, smiling warmly.\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1536x894.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-2048x1191.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1920x1117.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LenaKim Arctaedius as a baby, in the arms of her Swedish adoptive mother, as seen in ‘Geographies of Kinship.’ Arctaedius is the only subject in the documentary who had a truly happy childhood. \u003ccite>('Geographies of Kinship')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, hunger to adopt Korean babies increased across the United States and Europe. Orphanages and adoption agencies began actively seeking out children in impoverished areas, tempting birth parents with promises of better lives for their kids. Yet there were no regulations in place to give those children a safety net. \u003cem>Kinship\u003c/em> is precise about just how many children got caught in the crossfire. In Korea in 1955, 715 children were abandoned to about 300 orphanages. In 1968, there were 600 orphanages housing around 70,000 children. Overseas adoption rates went from under 3,000 in the 1950s to over 66,000 in the 1980s.\u003c/p>\n\u003cp>[aside postid='arts_13913134']\u003cem>Geographies of Kinship\u003c/em> made the film festival rounds back in 2019. It’s being revived now as part of \u003ca href=\"https://worldchannel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WORLD Channel\u003c/a>’s celebration of AAPI Heritage Month. But it’s a documentary that will be important long into the future.\u003c/p>\n\u003cp>It’s a testament to humanity’s longing for roots and family. It’s an important history lesson related to American intervention overseas. And it also acts as an indictment: this is what happens when single and working-class mothers are not given the support they need to give their kids even basic opportunities. That final point is something well worth discussing, especially as American women face a future where motherhood is no longer a choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Geographies of Kinship’ is streaming now on the WORLD Channel. \u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Exacerbating the hojuk problem was the stigma that came with babies who were visibly mixed race. The automatic assumption was that their mother was a prostitute, impregnated by an American G.I. And the prevailing attitude in Korea was: if the father was American, then the baby belonged in America. Needless to say, not all of those who were adopted and sent overseas were guaranteed a happy ending.\u003c/p>\n\u003cp>Estelle Cooke-Sampson was born to a Korean mother and a Black American father. After years spent languishing in an orphanage, she was taken home by an American sergeant to live with him, his wife and his four sons. On arrival, despite her young age, Cooke-Sampson was treated like a domestic servant. That treatment persisted until she was able to extricate herself in her teens. Cooke-Sampson’s interviews about her early life in \u003ci>Kinship\u003c/i> are devastating, as is the footage of her trying in adulthood to find out where she came from. Watching her struggle to figure out her real birth date is quite stunning.\u003c/p>\n\u003cp>Yet more babies were abandoned after the mass industrialization of Korea began in 1961, and the poverty rates went up. Parents who couldn’t afford to send their kids to school sometimes gave them to orphanages where children were guaranteed a basic education.\u003c/p>\n\u003cfigure id=\"attachment_13913613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png\" alt=\"A white woman with blue eyes, wearing a white jacket and blue hat holds an Asian baby close to her, smiling warmly.\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1536x894.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-2048x1191.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Screen-Shot-2022-05-18-at-1.09.04-PM-1920x1117.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LenaKim Arctaedius as a baby, in the arms of her Swedish adoptive mother, as seen in ‘Geographies of Kinship.’ Arctaedius is the only subject in the documentary who had a truly happy childhood. \u003ccite>('Geographies of Kinship')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, hunger to adopt Korean babies increased across the United States and Europe. Orphanages and adoption agencies began actively seeking out children in impoverished areas, tempting birth parents with promises of better lives for their kids. Yet there were no regulations in place to give those children a safety net. \u003cem>Kinship\u003c/em> is precise about just how many children got caught in the crossfire. In Korea in 1955, 715 children were abandoned to about 300 orphanages. In 1968, there were 600 orphanages housing around 70,000 children. Overseas adoption rates went from under 3,000 in the 1950s to over 66,000 in the 1980s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Geographies of Kinship\u003c/em> made the film festival rounds back in 2019. It’s being revived now as part of \u003ca href=\"https://worldchannel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">WORLD Channel\u003c/a>’s celebration of AAPI Heritage Month. But it’s a documentary that will be important long into the future.\u003c/p>\n\u003cp>It’s a testament to humanity’s longing for roots and family. It’s an important history lesson related to American intervention overseas. And it also acts as an indictment: this is what happens when single and working-class mothers are not given the support they need to give their kids even basic opportunities. That final point is something well worth discussing, especially as American women face a future where motherhood is no longer a choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Geographies of Kinship’ is streaming now on the WORLD Channel. \u003ca href=\"https://worldchannel.org/episode/america-reframed-geographies-of-kinship/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>No matter how many Bay Area icons make it to Hollywood, it’s always a thrill to see local landmarks, culture and talent on the silver screen (shout-out to whatever weirdness Boots Riley is cooking up for us with his upcoming Amazon series, \u003ci>\u003ca href=\"https://deadline.com/2020/12/amazon-im-a-virgo-jharrel-jerome-boots-riley-media-res-1234656067/\" rel=\"noopener noreferrer\" target=\"_blank\">I’m a Virgo\u003c/a>\u003c/i>). It’s even more exciting to think about what the next generation of Bay Area filmmakers will come up with as they hone their skills. Helping them on their path is \u003ca href=\"https://www.instagram.com/reeloakland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">REEL Oakland\u003c/a>, an after-school program created by Anthonia Onyejekwe (a former producer for KQED’s \u003ci>\u003ca href=\"https://www.kqed.org/checkplease\" rel=\"noopener noreferrer\" target=\"_blank\">Check Please! Bay Area\u003c/a>\u003c/i>) that guides high school students through the making of short documentary, narrative and animation films.\u003c/p>\n\u003cp>Over the course of a year, the students learn about all facets of filmmaking, from screenwriting to postproduction, working together as a crew and under the mentorship of local professionals. On Saturday, May 28, student films from Oakland Charter High School, Leadership Public Schools in Oakland and Hayward, Skyline High School, Richmond High School and John F. Kennedy High School will be on display at the New Parkway for an afternoon of screenings. A raffle, a Q&A with the student directors and—looking to what comes next—a chance for all attendees to network in the field rounds out the free event.\u003c/p>\n\u003cp>\u003ci>REEL Oakland Film Festival takes place Saturday, May 28, from 4–6pm at the New Parkway Theater. Tickets are free. \u003ca href=\"https://www.eventbrite.com/e/reel-oakland-screening-tickets-321112023707\" rel=\"noopener noreferrer\" target=\"_blank\">Register here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how many Bay Area icons make it to Hollywood, it’s always a thrill to see local landmarks, culture and talent on the silver screen (shout-out to whatever weirdness Boots Riley is cooking up for us with his upcoming Amazon series, \u003ci>\u003ca href=\"https://deadline.com/2020/12/amazon-im-a-virgo-jharrel-jerome-boots-riley-media-res-1234656067/\" rel=\"noopener noreferrer\" target=\"_blank\">I’m a Virgo\u003c/a>\u003c/i>). It’s even more exciting to think about what the next generation of Bay Area filmmakers will come up with as they hone their skills. Helping them on their path is \u003ca href=\"https://www.instagram.com/reeloakland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">REEL Oakland\u003c/a>, an after-school program created by Anthonia Onyejekwe (a former producer for KQED’s \u003ci>\u003ca href=\"https://www.kqed.org/checkplease\" rel=\"noopener noreferrer\" target=\"_blank\">Check Please! Bay Area\u003c/a>\u003c/i>) that guides high school students through the making of short documentary, narrative and animation films.\u003c/p>\n\u003cp>Over the course of a year, the students learn about all facets of filmmaking, from screenwriting to postproduction, working together as a crew and under the mentorship of local professionals. On Saturday, May 28, student films from Oakland Charter High School, Leadership Public Schools in Oakland and Hayward, Skyline High School, Richmond High School and John F. Kennedy High School will be on display at the New Parkway for an afternoon of screenings. A raffle, a Q&A with the student directors and—looking to what comes next—a chance for all attendees to network in the field rounds out the free event.\u003c/p>\n\u003cp>\u003ci>REEL Oakland Film Festival takes place Saturday, May 28, from 4–6pm at the New Parkway Theater. Tickets are free. \u003ca href=\"https://www.eventbrite.com/e/reel-oakland-screening-tickets-321112023707\" rel=\"noopener noreferrer\" target=\"_blank\">Register here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been a minute since we’ve recommended a \u003ci>Pop-Up Magazine\u003c/i> stage show. The live magazine \u003ca href=\"https://www.kqed.org/arts/13880706/pop-up-magazine-trades-stage-for-screen-and-were-all-invited\" target=\"_blank\" rel=\"noopener noreferrer\">pivoted to video\u003c/a> early in the pandemic, then produced a food-themed “Issue in a Box” in late 2020. Last year, the team created a “\u003ca href=\"https://www.popupmagazine.com/sidewalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Issue\u003c/a>,” blending magazine, scavenger hunt and public art to create tangible (and by all accounts, delightful) experiences in San Francisco, Los Angeles and Brooklyn, before resuming in-person events for a fall 2021 tour.\u003c/p>\n\u003cp>On Tuesday, May 24, \u003ci>Pop-Up\u003c/i> returns to its familiar spot on Oakland’s Paramount Theatre stage, bringing together a group of talented people for a night of multimedia nonfiction storytelling. If you haven’t experienced a \u003ci>Pop-Up\u003c/i> show before, picture something akin to sitting down with your smartest friends and consuming a magazine, page by page and section by section, with the help of erudite narrators and live musical accompaniment (courtesy house band \u003ca href=\"http://magikmagikorchestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Magik*Magik Orchestra\u003c/a>).[aside postID='arts_13908852']\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Try as he may, Julian Fellowes can’t seem to escape the Crawley family and their antics.\u003c/p>\n\u003cp>[aside postid='pop_20730']It might be because Fellowes is the executive producer and creator of \u003cem>Downton Abbey\u003c/em>, the smash hit television series that spanned six seasons and one movie spin-off, focusing on the lives and legacies of fading nobility in the Yorkshire countryside. This, of course, includes plenty of drama, betrayal and lies; think \u003cem>The Kardashians\u003c/em> with British accents and a lot less spray tan.\u003c/p>\n\u003cp>Despite many plot lines seeing resolution in the eponymous 2019 film adaptation, Fellowes and the Crawley family are back with \u003cem>Downton Abbey: A New Era\u003c/em> set for release in theaters this week.\u003c/p>\n\u003cp>Fellowes spoke with \u003cem>All Things Considered\u003c/em> about what lies ahead in this new chapter, the relatability of aristocrats in our modern age, and the excess of misery in modern media.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wN0Spmq610Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>On just wanting people to watch his movies and enjoy themselves\u003c/strong>\u003c/p>\n\u003cp>Yes—cry a bit, laugh a bit. Sometimes you hope you’ve sort of provoked a reasonably interesting thought they’ll consider later when they’re, you know, sitting in the traffic, waiting for the light to change. I mean, I feel a strong part of the entertainment industry is to entertain. I’m not really trying to provoke the French Revolution. You know, I just like to make people think about things, maybe change their attitude.\u003c/p>\n\u003cp>\u003cstrong>On telling the story of a privileged white family for a modern audience\u003c/strong>\u003c/p>\n\u003cp>I mean, we’re looking at a certain way of life. It involves some privileged people. It involves more unprivileged people. In my own head, among the servants, you get the different types. You get the ones who are resentful and unhappy like O’Brien. You get the ones who adore the family and worship them and see them as their soap opera like Carson. You get the ones for whom it was a job, who I am quite sure were in the vast majority, like Mrs. Hughes. And I think that’s a fairly truthful reflection of that society.\u003c/p>\n\u003cp>[aside postid='pop_20977']I think in the end, you know, when you’re going to make any film, any TV show and write a book, what you’re trying to do is to tell a reasonably truthful story about a group of people. I mean, this modern thing, present thing that nothing is valid that isn’t about misery—I don’t agree with that. I think misery is fine to investigate and to dramatize and all the rest of it, but I don’t think it’s compulsory.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the \u003c/strong>\u003cem>\u003cstrong>Downton Abbey\u003c/strong>\u003c/em>\u003cstrong> franchise\u003c/strong>\u003c/p>\n\u003cp>I’m not going to go on forever. So I think there would be a real difficulty getting Downton to go on forever. Whether it’s come to an end or not, I couldn’t tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the other things is that during the lifetime of Downton, the whole nature of showbiz, of how you make films, of how they’re released, the platforms—all of this is different from what it was 15 years ago—I mean, quite different. Now, of course, people complain about it one way. But I think it also is constantly throwing up new opportunities, new chances, new ways of doing things. And, you know, I like that. I think that’s interesting. And I like being part of it. So if \u003cem>Downton\u003c/em> is to be reborn in a different shape or size, then, you know, I hope I’m part of that.\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=The+new+Downton+Abbey+film+is+here%2C+and+its+creator+says+misery+isn%27t+compulsory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Try as he may, Julian Fellowes can’t seem to escape the Crawley family and their antics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It might be because Fellowes is the executive producer and creator of \u003cem>Downton Abbey\u003c/em>, the smash hit television series that spanned six seasons and one movie spin-off, focusing on the lives and legacies of fading nobility in the Yorkshire countryside. This, of course, includes plenty of drama, betrayal and lies; think \u003cem>The Kardashians\u003c/em> with British accents and a lot less spray tan.\u003c/p>\n\u003cp>Despite many plot lines seeing resolution in the eponymous 2019 film adaptation, Fellowes and the Crawley family are back with \u003cem>Downton Abbey: A New Era\u003c/em> set for release in theaters this week.\u003c/p>\n\u003cp>Fellowes spoke with \u003cem>All Things Considered\u003c/em> about what lies ahead in this new chapter, the relatability of aristocrats in our modern age, and the excess of misery in modern media.\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/wN0Spmq610Q'\n title='//www.youtube.com/embed/wN0Spmq610Q'\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>\u003cem>The interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>On just wanting people to watch his movies and enjoy themselves\u003c/strong>\u003c/p>\n\u003cp>Yes—cry a bit, laugh a bit. Sometimes you hope you’ve sort of provoked a reasonably interesting thought they’ll consider later when they’re, you know, sitting in the traffic, waiting for the light to change. I mean, I feel a strong part of the entertainment industry is to entertain. I’m not really trying to provoke the French Revolution. You know, I just like to make people think about things, maybe change their attitude.\u003c/p>\n\u003cp>\u003cstrong>On telling the story of a privileged white family for a modern audience\u003c/strong>\u003c/p>\n\u003cp>I mean, we’re looking at a certain way of life. It involves some privileged people. It involves more unprivileged people. In my own head, among the servants, you get the different types. You get the ones who are resentful and unhappy like O’Brien. You get the ones who adore the family and worship them and see them as their soap opera like Carson. You get the ones for whom it was a job, who I am quite sure were in the vast majority, like Mrs. Hughes. And I think that’s a fairly truthful reflection of that society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I think in the end, you know, when you’re going to make any film, any TV show and write a book, what you’re trying to do is to tell a reasonably truthful story about a group of people. I mean, this modern thing, present thing that nothing is valid that isn’t about misery—I don’t agree with that. I think misery is fine to investigate and to dramatize and all the rest of it, but I don’t think it’s compulsory.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the \u003c/strong>\u003cem>\u003cstrong>Downton Abbey\u003c/strong>\u003c/em>\u003cstrong> franchise\u003c/strong>\u003c/p>\n\u003cp>I’m not going to go on forever. So I think there would be a real difficulty getting Downton to go on forever. Whether it’s come to an end or not, I couldn’t tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the other things is that during the lifetime of Downton, the whole nature of showbiz, of how you make films, of how they’re released, the platforms—all of this is different from what it was 15 years ago—I mean, quite different. Now, of course, people complain about it one way. But I think it also is constantly throwing up new opportunities, new chances, new ways of doing things. And, you know, I like that. I think that’s interesting. And I like being part of it. So if \u003cem>Downton\u003c/em> is to be reborn in a different shape or size, then, you know, I hope I’m part of that.\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=The+new+Downton+Abbey+film+is+here%2C+and+its+creator+says+misery+isn%27t+compulsory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Happening’ Tells an Old Abortion Story that Now Resembles the Future",
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"content": "\u003cp>In recent years, American films about abortion have transcended expected genre (biopic) and tone (dour) to represent, more realistically, the diverse experiences of those who seek out the procedure. We’ve got buddy comedy road trips (\u003ci>Plan B\u003c/i>); quiet, contemplative dramas (\u003ci>Never Rarely Sometimes Always\u003c/i>); and star-studded reenactments of actual historical events (\u003ci>Call Jane\u003c/i>, opening later this year). All are welcome, and all, as \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2022-05-03/column-silent-majority-abortion-rights-americans-just-learned-danger-silence\" rel=\"noopener noreferrer\" target=\"_blank\">a recent \u003ci>Los Angeles Times\u003c/i>\u003c/a> opinion piece argued, counter the cultural silence on abortion that “only reinforces ignorance and, too often, shame.”\u003c/p>\n\u003cp>[aside postID='arts_13912860']But with an expected overturning of Roe v. Wade on the horizon, the next few years will likely yield more in the vein of \u003ci>Happening\u003c/i>, Audrey Diwan’s tense film adapted from Annie Ernaux’s semi-autobiographical novel of the same name. \u003ci>Happening\u003c/i> takes place in 1963 France, when and where abortion is illegal. France’s past, America’s future: soon, movies about reproductive rights will become the exclusive purview of thrillers.\u003c/p>\n\u003cp>\u003ci>Happening\u003c/i> follows Anne, a 23-year-old literature student who is pregnant but desires to not be. Played by Anamaria Vartolomei, whose beauty invites the cliché “eyes like limpid pools,” Anne is singly focused on—and excelling at—school. She has novels and poems to study, final exams to prepare for, and plans for a career that will transport her out of her lower-income upbringing.\u003c/p>\n\u003cfigure id=\"attachment_13913251\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Still-2.jpg\" alt=\"Three young women sit close to each other on a bench\" width=\"1440\" height=\"1051\" class=\"size-full wp-image-13913251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-768x561.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Louise Orry-Diquero as Brigitte, Anamaria Vartolomei as Anne and Luàna Bajrami as Hélène in Audrey Diwan’s ‘Happening.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne knows what she wants and is far less afraid than her peers to say what she is looking for. Before abortion was legalized in 1975, the French state vigorously prosecuted women who had abortions, along with those who performed them and even those who helped along the way. Turned down by her school doctor, friends and an off-campus physician, Anne grows more and more desperate. \u003c/p>\n\u003cp>Everyone at her school \u003ci>wants\u003c/i> to have sex, but (the women, at least) are terrified of the risk. And so the girls of her dorm exert a moralistic policing of Anne’s body and their own bodies, constantly surveilling each other for any signs of promiscuous behavior. Looks and insults from a clique of popular girls add to Anne’s growing isolation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many ways, as Anne tries again and again to terminate the pregnancy, what happens in \u003ci>Happening\u003c/i> is completely unsurprising. When abortions are illegal, people will still do whatever they can to get abortions; it’s just the circumstances and safety of those scenarios that change. \u003c/p>\n\u003cp>But Diwan’s tight focus on Anne—on her face, in pain; or the back of her head as she leaves a party with someone unsuitable—grounds the film in one woman’s increasingly harrowing experience. Adding to the tension are intertitles that count up the weeks of the pregnancy. By the time we reached 10, I was biting my nails. \u003c/p>\n\u003cfigure id=\"attachment_13913253\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Still-4.jpg\" alt=\"A young woman holds a flame under a metal skewer\" width=\"2200\" height=\"1620\" class=\"size-full wp-image-13913253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4.jpg 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1536x1131.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-2048x1508.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1920x1414.jpg 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Anamaria Vartolomei as Anne in Audrey Diwan’s ‘Happening.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Happening\u003c/i> also excels at showing just how all-consuming an unwanted pregnancy can be. Anne, once “professor material,” starts slipping in class. Her relationships deteriorate. The stakes are her entire future: If she fails to get an abortion in time, her academic career will be over. If she does succeed, but ends up in the hospital, her fate rests in a doctor’s determination of “miscarriage” or “abortion.” Death is a very real possibility.\u003c/p>\n\u003cp>Every review of this film will mention how the subject matter is important and timely, especially for U.S. audiences. But already, for so many Americans, accessing safe, affordable abortions can be insurmountably difficult. Many live in a reality not unlike 1963 France. And soon, the number of people who recognize their own experiences in \u003ci>Happening\u003c/i> will likely grow. The film is not newly timely, just as it is not a new story. It is a version of events that has been happening for centuries, across the globe, and will continue as long as there are people who wish to control their own destinies.\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>‘Happening’ opens in the Bay Area on May 16 at Landmark Shattuck Cinemas (Berkeley); The New Parkway (Oakland); AMC Metreon 16, Marina Theatre, Landmark Opera Plaza Cinemas (San Francisco); Smith Rafael Film Center (San Rafael); and Rialto Cinemas (Sebastopol).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, American films about abortion have transcended expected genre (biopic) and tone (dour) to represent, more realistically, the diverse experiences of those who seek out the procedure. We’ve got buddy comedy road trips (\u003ci>Plan B\u003c/i>); quiet, contemplative dramas (\u003ci>Never Rarely Sometimes Always\u003c/i>); and star-studded reenactments of actual historical events (\u003ci>Call Jane\u003c/i>, opening later this year). All are welcome, and all, as \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2022-05-03/column-silent-majority-abortion-rights-americans-just-learned-danger-silence\" rel=\"noopener noreferrer\" target=\"_blank\">a recent \u003ci>Los Angeles Times\u003c/i>\u003c/a> opinion piece argued, counter the cultural silence on abortion that “only reinforces ignorance and, too often, shame.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with an expected overturning of Roe v. Wade on the horizon, the next few years will likely yield more in the vein of \u003ci>Happening\u003c/i>, Audrey Diwan’s tense film adapted from Annie Ernaux’s semi-autobiographical novel of the same name. \u003ci>Happening\u003c/i> takes place in 1963 France, when and where abortion is illegal. France’s past, America’s future: soon, movies about reproductive rights will become the exclusive purview of thrillers.\u003c/p>\n\u003cp>\u003ci>Happening\u003c/i> follows Anne, a 23-year-old literature student who is pregnant but desires to not be. Played by Anamaria Vartolomei, whose beauty invites the cliché “eyes like limpid pools,” Anne is singly focused on—and excelling at—school. She has novels and poems to study, final exams to prepare for, and plans for a career that will transport her out of her lower-income upbringing.\u003c/p>\n\u003cfigure id=\"attachment_13913251\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Still-2.jpg\" alt=\"Three young women sit close to each other on a bench\" width=\"1440\" height=\"1051\" class=\"size-full wp-image-13913251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-2-768x561.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Louise Orry-Diquero as Brigitte, Anamaria Vartolomei as Anne and Luàna Bajrami as Hélène in Audrey Diwan’s ‘Happening.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne knows what she wants and is far less afraid than her peers to say what she is looking for. Before abortion was legalized in 1975, the French state vigorously prosecuted women who had abortions, along with those who performed them and even those who helped along the way. Turned down by her school doctor, friends and an off-campus physician, Anne grows more and more desperate. \u003c/p>\n\u003cp>Everyone at her school \u003ci>wants\u003c/i> to have sex, but (the women, at least) are terrified of the risk. And so the girls of her dorm exert a moralistic policing of Anne’s body and their own bodies, constantly surveilling each other for any signs of promiscuous behavior. Looks and insults from a clique of popular girls add to Anne’s growing isolation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many ways, as Anne tries again and again to terminate the pregnancy, what happens in \u003ci>Happening\u003c/i> is completely unsurprising. When abortions are illegal, people will still do whatever they can to get abortions; it’s just the circumstances and safety of those scenarios that change. \u003c/p>\n\u003cp>But Diwan’s tight focus on Anne—on her face, in pain; or the back of her head as she leaves a party with someone unsuitable—grounds the film in one woman’s increasingly harrowing experience. Adding to the tension are intertitles that count up the weeks of the pregnancy. By the time we reached 10, I was biting my nails. \u003c/p>\n\u003cfigure id=\"attachment_13913253\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Still-4.jpg\" alt=\"A young woman holds a flame under a metal skewer\" width=\"2200\" height=\"1620\" class=\"size-full wp-image-13913253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4.jpg 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1536x1131.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-2048x1508.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Still-4-1920x1414.jpg 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Anamaria Vartolomei as Anne in Audrey Diwan’s ‘Happening.’ \u003ccite>(Courtesy of IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Happening\u003c/i> also excels at showing just how all-consuming an unwanted pregnancy can be. Anne, once “professor material,” starts slipping in class. Her relationships deteriorate. The stakes are her entire future: If she fails to get an abortion in time, her academic career will be over. If she does succeed, but ends up in the hospital, her fate rests in a doctor’s determination of “miscarriage” or “abortion.” Death is a very real possibility.\u003c/p>\n\u003cp>Every review of this film will mention how the subject matter is important and timely, especially for U.S. audiences. But already, for so many Americans, accessing safe, affordable abortions can be insurmountably difficult. Many live in a reality not unlike 1963 France. And soon, the number of people who recognize their own experiences in \u003ci>Happening\u003c/i> will likely grow. The film is not newly timely, just as it is not a new story. It is a version of events that has been happening for centuries, across the globe, and will continue as long as there are people who wish to control their own destinies.\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>‘Happening’ opens in the Bay Area on May 16 at Landmark Shattuck Cinemas (Berkeley); The New Parkway (Oakland); AMC Metreon 16, Marina Theatre, Landmark Opera Plaza Cinemas (San Francisco); Smith Rafael Film Center (San Rafael); and Rialto Cinemas (Sebastopol).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Free Chol Soo Lee’ Resurrects a Reluctant Asian American Icon",
"headTitle": "‘Free Chol Soo Lee’ Resurrects a Reluctant Asian American Icon | KQED",
"content": "\u003cp>As tempting as it is to call Chol Soo Lee a tragic figure, it would be a disservice. No one-word summation can accurately describe his roller-coaster life of shocking spills and stratospheric thrills.\u003c/p>\n\u003cp>Lee was the central figure in a pivotal chapter of San Francisco history, albeit one that is perhaps not widely remembered outside of the Korean American community. In 1973, a few months shy of his 21st birthday, Lee was arrested for a gang hit at the corner of Pacific and Grant on a Sunday afternoon.\u003c/p>\n\u003cp>Los Angeles filmmakers Eugene Yi and Julie Ha recount Lee’s terrible saga without histrionics or melodrama in their invaluable debut \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Free Chol Soo Lee\u003c/em>\u003c/a>. The documentary, which premiered at Sundance, opens the 40th annual CAAMFest on Thursday, May 12 at the Castro. \u003c/p>\n\u003cp>Lee was wrongfully convicted of the Chinatown murder on the basis of numerous criminal justice errors that depended, in part, on the racist belief of white eyewitnesses that “all Asians looked alike.”\u003c/p>\n\u003cfigure id=\"attachment_13913154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg\" alt=\"Black and white image of Korean man speaking\" width=\"1200\" height=\"939\" class=\"size-full wp-image-13913154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-768x601.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chol Soo Lee \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The institutions, the media and law enforcement, the judicial system have continued to remain ignorant and insensitive,” Sacramento-based Korean American journalist K.W. Lee says in the film. “And that’s why I felt it was my calling to make some small dent in that wall of ignorance and insensitivity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>K.W. Lee visited Choo Sol Lee in prison, and wrote dozens of articles about him and the flawed case. The reporter sent books to the inmate, and over time became something of a father figure to him. \u003ci>Free Chol Soo Lee\u003c/i> introduces us to many voices of conscience, but none are more compelling than K.W. Lee’s. \u003c/p>\n\u003cp>A friend of Chol Soo Lee, Ranko Yamada, along with other college students (including the late San Francisco public defender Jeff Adachi), organized to publicize his case and to raise funds for his defense. Their efforts to free Lee—who ultimately spent a decade in prison, four of those years on Death Row—depended on the cross-generational success of tapping into Korean American churches.\u003c/p>\n\u003cp>\u003cem>Free Chol Soo Lee\u003c/em>, however, is far richer and more nuanced than a mere heroes-and-villains recounting of justice denied, or delayed. (To that end, the filmmakers dispense with the manipulative music and overtones that are endemic in wrongful-imprisonment documentaries on mainstream streaming services and lesser cable networks.)\u003c/p>\n\u003cfigure id=\"attachment_13913153\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png\" alt=\"Black and white image of people holding signs\" width=\"2200\" height=\"1397\" class=\"size-full wp-image-13913153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-2048x1300.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1920x1219.png 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Protesters in support of Chol Soo Lee. \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charming but poorly educated Lee, who’d been uprooted from his happy Korean childhood and brought by his damaged mother to the Bay Area, was unprepared to be celebrated as a symbol and spokesperson for Asian American activism and community empowerment. How does a guy who’s spent the last 10 years confined to a cell live up to the expectations of an entire community? And how does a community deal with their cause’s ongoing troubles and demons?\u003c/p>\n\u003cp>The documentary, which will air on PBS’ \u003ci>Independent Lens\u003c/i> later this year, recognizes Lee’s importance to the Korean American community as an example of prejudice and injustice. But the film also remains steadfastly determined to keep the man—and his complicated journey of isolation, torment and frustration—front and center. The excerpts from his posthumously published memoir, voiced with conversational power by Sebastian Yoon, contribute enormously to that effort.\u003c/p>\n\u003cp>Consequently, only after 90 minutes can we grasp that the title is ironic as well as declamatory: Chol Soo Lee was never free, except in fleeting moments.\u003c/p>\n\u003cp>What imbues \u003cem>Free Chol Soo Lee\u003c/em> with a sense of grace, though, is Lee’s eventual maturity. He moved beyond the victimhood and resentment that understandably afflicted him for stretches in his life, and took responsibility for his mistakes.\u003c/p>\n\u003cp>As usual, K.W. Lee has the clearest perspective. “It was just by the grace of God that I eluded the fate that fell on him,” he says. “Because there’s a very thin line between him and me. I was lucky. He was not lucky. There are an awful lot of unlucky people. Especially Asians.”\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>‘Free Chol Soo See’ opens CAAMFest at 6:30pm on Thursday, May 12 at the Castro Theater. Free tickets are available \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As tempting as it is to call Chol Soo Lee a tragic figure, it would be a disservice. No one-word summation can accurately describe his roller-coaster life of shocking spills and stratospheric thrills.\u003c/p>\n\u003cp>Lee was the central figure in a pivotal chapter of San Francisco history, albeit one that is perhaps not widely remembered outside of the Korean American community. In 1973, a few months shy of his 21st birthday, Lee was arrested for a gang hit at the corner of Pacific and Grant on a Sunday afternoon.\u003c/p>\n\u003cp>Los Angeles filmmakers Eugene Yi and Julie Ha recount Lee’s terrible saga without histrionics or melodrama in their invaluable debut \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Free Chol Soo Lee\u003c/em>\u003c/a>. The documentary, which premiered at Sundance, opens the 40th annual CAAMFest on Thursday, May 12 at the Castro. \u003c/p>\n\u003cp>Lee was wrongfully convicted of the Chinatown murder on the basis of numerous criminal justice errors that depended, in part, on the racist belief of white eyewitnesses that “all Asians looked alike.”\u003c/p>\n\u003cfigure id=\"attachment_13913154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg\" alt=\"Black and white image of Korean man speaking\" width=\"1200\" height=\"939\" class=\"size-full wp-image-13913154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-Free_Chol_Soo_Lee_1200-768x601.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chol Soo Lee \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The institutions, the media and law enforcement, the judicial system have continued to remain ignorant and insensitive,” Sacramento-based Korean American journalist K.W. Lee says in the film. “And that’s why I felt it was my calling to make some small dent in that wall of ignorance and insensitivity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>K.W. Lee visited Choo Sol Lee in prison, and wrote dozens of articles about him and the flawed case. The reporter sent books to the inmate, and over time became something of a father figure to him. \u003ci>Free Chol Soo Lee\u003c/i> introduces us to many voices of conscience, but none are more compelling than K.W. Lee’s. \u003c/p>\n\u003cp>A friend of Chol Soo Lee, Ranko Yamada, along with other college students (including the late San Francisco public defender Jeff Adachi), organized to publicize his case and to raise funds for his defense. Their efforts to free Lee—who ultimately spent a decade in prison, four of those years on Death Row—depended on the cross-generational success of tapping into Korean American churches.\u003c/p>\n\u003cp>\u003cem>Free Chol Soo Lee\u003c/em>, however, is far richer and more nuanced than a mere heroes-and-villains recounting of justice denied, or delayed. (To that end, the filmmakers dispense with the manipulative music and overtones that are endemic in wrongful-imprisonment documentaries on mainstream streaming services and lesser cable networks.)\u003c/p>\n\u003cfigure id=\"attachment_13913153\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png\" alt=\"Black and white image of people holding signs\" width=\"2200\" height=\"1397\" class=\"size-full wp-image-13913153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02.png 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-2048x1300.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/02-KY_CSL_79_5B_04_02-1920x1219.png 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Protesters in support of Chol Soo Lee. \u003ccite>(Courtesy the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The charming but poorly educated Lee, who’d been uprooted from his happy Korean childhood and brought by his damaged mother to the Bay Area, was unprepared to be celebrated as a symbol and spokesperson for Asian American activism and community empowerment. How does a guy who’s spent the last 10 years confined to a cell live up to the expectations of an entire community? And how does a community deal with their cause’s ongoing troubles and demons?\u003c/p>\n\u003cp>The documentary, which will air on PBS’ \u003ci>Independent Lens\u003c/i> later this year, recognizes Lee’s importance to the Korean American community as an example of prejudice and injustice. But the film also remains steadfastly determined to keep the man—and his complicated journey of isolation, torment and frustration—front and center. The excerpts from his posthumously published memoir, voiced with conversational power by Sebastian Yoon, contribute enormously to that effort.\u003c/p>\n\u003cp>Consequently, only after 90 minutes can we grasp that the title is ironic as well as declamatory: Chol Soo Lee was never free, except in fleeting moments.\u003c/p>\n\u003cp>What imbues \u003cem>Free Chol Soo Lee\u003c/em> with a sense of grace, though, is Lee’s eventual maturity. He moved beyond the victimhood and resentment that understandably afflicted him for stretches in his life, and took responsibility for his mistakes.\u003c/p>\n\u003cp>As usual, K.W. Lee has the clearest perspective. “It was just by the grace of God that I eluded the fate that fell on him,” he says. “Because there’s a very thin line between him and me. I was lucky. He was not lucky. There are an awful lot of unlucky people. Especially Asians.”\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>‘Free Chol Soo See’ opens CAAMFest at 6:30pm on Thursday, May 12 at the Castro Theater. Free tickets are available \u003ca href=\"https://caamfest.com/40/movies/free-chol-soo-lee/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality",
"headTitle": "DocLands Entry ‘Exposing Muybridge’ Looks at a Storyteller’s Power to Filter Reality | KQED",
"content": "\u003cp>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”[aside postID='arts_13842189']\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.[aside postID='arts_13908371']\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>[aside postID='arts_13894535']Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\u003c/p>\n\u003cp>https://youtu.be/xeMMIofB3uU\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" 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>With his long beard, dark waistcoat and piercing stare, Eadweard Muybridge personifies, in photographs, a certain type of 19th-century Englishman. But Muybridge wasn’t cut from any mold. Indeed, his arrival in San Francisco in 1855 as a bookseller, and his return a dozen years later as a photographer, puts him in the forefront of two modern phenomena: iconoclasts who came West to reinvent themselves, and technological innovation. \u003c/p>\n\u003cp>“Most historical figures get treated as antiques on a shelf, as time capsules to an earlier age,” muses Oakland filmmaker Marc Shaffer. “No matter how significant they may be, they’re nonetheless thought of as of the past, and so there’s a kind of distance there.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muybridge, though, is an exception. You may be familiar with his signature motion-photography project, undertaken in the 1870s at the behest of and funded by the powerful railroad man and prideful Palo Alto horse trainer Leland Stanford to ascertain whether a galloping steed left the ground completely. The series of rapid-fire pictures is now viewed as a precursor to motion pictures.\u003c/p>\n\u003cp>Shaffer was unaware of Muybridge, in part because his career as an award-winning broadcast journalist and filmmaker for Frontline, Al-Jazeera and National Geographic (among others) was centered on the East Coast. When he encountered Muybridge’s striking photographs while researching \u003cem>\u003ca href=\"http://www.americanjerusalem.com/\" rel=\"noopener noreferrer\" target=\"_blank\">American Jerusalem: Jews and the Making of San Francisco\u003c/a>\u003c/em> (2014), the Berkeley native was stunned.\u003c/p>\n\u003cfigure id=\"attachment_13912943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg\" alt=\"Stereo image of man with back to camera looking out at SF Bay\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Golden-Gate-from-Goat-Island_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Muybridge photograph, ‘Golden Gate, From Goat Island,’ 1870. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Muybridge, as I got to know his story and I got to understand the impact of his work, I realized he was a kind of starting point—an origin story—for us, who live in a sea of visual storytelling,” Shaffer explains. “Our modern culture is defined by technological visual storytelling in some really important ways that go back to Muybridge.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em>, Shaffer’s deliciously probing and philosophical recounting of Muybridge’s strange and colorful life, screens Saturday, May 7 at 8pm in \u003ca href=\"https://www.doclands.com/\" rel=\"noopener noreferrer\" target=\"_blank\">DocLands\u003c/a>, the California Film Institute’s annual documentary festival at the Smith Rafael Film Center. \u003c/p>\n\u003cp>Winner of the 2022 Writers Guild Award for documentary screenplay, the film is also distinguished by the creative editing of Elisabeth Haviland James (a product of Stanford University’s graduate documentary program, coincidentally), Chad Cannon’s thoughtful score and Muybridge collector and aficionado Gary Oldman’s numerous amusing and pointed comments (alongside those of certified historians and scholars).\u003c/p>\n\u003cfigure id=\"attachment_13912940\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13912940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Gary-Oldman-with-Muybridge_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman with photograph of Muybridge in a still from ‘Exposing Muybridge.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For his part, Shaffer was less interested in cementing Muybridge’s role in the evolution of cinema than in wrestling with the moral and aesthetic choices he made. \u003c/p>\n\u003cp>“I’m very animated by questions around truth, what is true and the power of a storyteller to filter reality and essentially define it for audiences,” Shaffer says. “That was my experience as a news producer, and since that’s something I’ve struggled with my whole career, when I encountered it in Muybridge’s work it deeply resonated.” \u003c/p>\n\u003cp>While Muybridge’s work has been covered by scholars and popular writers, Shaffer says, the trustworthiness of his images hasn’t been a dominant theme in most of that work. “It’s really quite secondary,” he says. “As a person who’s been entrusted to make sense out of the world, that Muybridge was not so reliable in that regard kind of jumped off the page to me.”\u003c/p>\n\u003cp>Muybridge took liberties like adding clouds to a landscape during processing (fixing it in post, we call it today). Like other photographers, he was compensating for the rudimentary quality of the medium and the camera, which couldn’t expose the ground and the sky at the same time. \u003c/p>\n\u003cfigure id=\"attachment_13912944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg\" alt=\"Three rows of black-and-white images of different angles of nude woman sitting in chair smoking\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13912944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/nude-woman-smoking_1200-768x434.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A detail from Muybridge’s ‘Animal Locomotion’ series from 1887. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He considered himself an artist, he described his photographs as ‘illustrated by Muybridge,’ Shaffer explains. “I think that he believed that he didn’t just have the license, he had the \u003cem>obligation\u003c/em> to make the most aesthetically pleasing images he could, which would often mean producing a fiction: things that didn’t exist in nature. Part of that was just the beauty of what he could do with his camera, kind of an early Photoshop [way of] manipulating things in the frame that weren’t there.”\u003c/p>\n\u003cp>\u003cem>Exposing Muybridge\u003c/em> lingers on a more problematic photo, in a \u003ci>Harper’s Weekly\u003c/i> spread, that purported to be a Modoc warrior. In fact, Muybridge “cast” a Native American scout with the U.S. Army—a member of the Warm Springs tribe—holding a government carbine.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had an evolution [over] 10 years,” Shaffer confides. “Maybe I started from a place that was more judgmental: Muybridge had done something wrong. He manipulated his images without being transparent, or mischaracterized some of them because it was convenient for him. He needed to be held accountable, almost in an investigative reporting sense. We found out he did something and he didn’t tell us about it and that’s betrayal.”\u003c/p>\n\u003cp>Shaffer, who speaks in paragraphs rather than soundbites, continues, “I came to have a greater appreciation for different kinds of truths. As [photographer] Byron Wolfe says in the film, his photography is more like poetry. If you understand him in those terms, you can appreciate that it’s what all art is, it has the capacity to have a deeper truth, a resonant emotional truth, that transcends the physical reality of what it represents.”\u003c/p>\n\u003cfigure id=\"attachment_13912945\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg\" alt=\"Man smiles on film set with row of cameras set up behind him\" width=\"1200\" height=\"1137\" class=\"size-full wp-image-13912945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-800x758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-1020x966.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/shaffer-bio-pic_1200-768x728.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Exposing Muybridge’ director Marc Shaffer. \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As someone who’s made media for mainstream audiences for decades, Shaffer is sensitive not only to the responsibilities of the individual behind the camera but to the expectations of the viewer. And he wishes audiences were more skeptical and less passive.\u003c/p>\n\u003cp>“Photographs have always had an authority to them,” he notes. “We’ve had this comfort with the machine-made image. Part of it feels like it’s unfiltered. A painter paints but a camera makes the real thing. And maybe there’s a greater sense of betrayal when you discover that the person controlling the camera made something that isn’t true—‘true’ is a tricky word—it isn’t what was in front of his camera.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Muybridge was a complicated figure; he changed his name from the prosaic Edward James Muggeridge in stages after his departure from England. He subsequently suffered a head injury between his two Bay Area residencies that likely altered his personality. (One of the more colorful passages in the film concerns the action he took against the man he believed to be his wife’s lover, resulting in Muybridge’s trial for murder.) If Shaffer and his assembled experts are uncomfortable when he manipulates photographs—notably in his massive animal locomotion series at the University of Pennsylvania—they confess admiration for Muybridge’s drive, initiative, stubbornness and independence.\u003c/p>\n\u003cp>“Muybridge has patrons, and he who pays the piper names the tune,” Shaffer says. “What I loved about Muybridge was the way he hijacked his commissions. He was dependent on the resources of powerful interests, like the U.S. government, or railroads, or Leland Stanford, with their own agenda, who would hire him to serve them—and he did, he did it well, he wasn’t a social reformer in that respect, he was a tool of Western expansion—but as an artist he would always bend it in some bizarre way that part of me admired and couldn’t quite believe he got away with.”\u003c/p>\n\u003cp>Early in his career, Muybridge was hired to go to Alaska and take photographs of military ports and harbors. He did that, and also came back with wonderful pictures of the Native Tlingit people. \u003c/p>\n\u003cp>“This happens over and over and over again with him,” Shaffer says, “and I, as somebody who’s done a lot of commissioned film over the years, that’s always been a bit of my impulse as well. I’ve always had this subversive instinct to steal the commission and make the film I felt needed to be made. Which was often not exactly the film that the commissioner wanted or asked me to make. So when I saw that in his work I had a great appreciation for it.”\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/xeMMIofB3uU'\n title='//www.youtube.com/embed/xeMMIofB3uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Exposing Muybridge\u003c/em> raises a wealth of questions about the creation, the nature and the consumption of image-making. Because the work in question dates from more than 125 years ago, the debate is relevant without being charged. But there’s a crucial element of visual representation that Shaffer considers paramount.\u003c/p>\n\u003cp>“I think my film is pretty straightforward but I hope people leave the theater with a refreshed appreciation for just how powerful the machine is,” he declares. “And who controls it. That the power of that machine lies in the hands of the person who controls it, and the extent to which we are served or harmed by it has to do with how much we can trust the person behind the machine. That doesn’t mean they don’t have a point of view; everybody has a point a view. It doesn’t mean they don’t have an agenda of some kind. It has to do with the level of transparency and honesty with which they treat the audience.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Exposing Muybridge’ screens in-theater at the Smith Rafael Film Center on Saturday, May 7 at 8pm. Online streaming is also available to California viewers. \u003ca href=\"https://www.doclands.com/exposing-muybridge/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Petite Maman' is the Best—and Most Surreal—Family Movie You'll See in a While",
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"content": "\u003cp>The writer and director Céline Sciamma makes beautiful movies about girls and young women navigating the complexities of gender and sexual identity. You can tell as much from their titles: \u003ca href=\"https://www.npr.org/2011/11/16/142247936/tomboy-truths-and-dares-for-a-10-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tomboy\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2015/01/29/381866202/a-parisian-finds-her-place-in-a-rarely-seen-part-of-girlhood\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girlhood\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her wonderful new film, \u003cem>Petite Maman\u003c/em>, is no less focused on the inner lives of its female characters. But it’s also something of a departure: This is Sciamma’s first work to earn a PG rating, and it’s both the best family movie and the best movie about a family that I’ve seen in some time.\u003c/p>\n\u003cp>[aside postid='arts_10345578']It tells the gently surreal story of Nelly, an 8-year-old girl played by the remarkable young Joséphine Sanz, who has long brown hair and a sharp, perceptive gaze. Nelly’s just lost her maternal grandmother after a long illness. Now, she watches as her parents go about the solemn task of packing up Grandma’s house—the very house where Nelly’s mother, Marion, grew up years earlier. To pass the time, Nelly plays in the woods surrounding the house. It’s there that she meets another 8-year-old girl, who also happens to be named Marion. She’s played by Gabrielle Sanz, Joséphine’s identical twin sister.\u003c/p>\n\u003cp>This eerie encounter naturally raises a lot of questions: Who is Marion, and why does she look so much like Nelly? Is this forest the backdrop for a modern-day fairy tale, or have we slipped through a hole in the space-time continuum? Sciamma is in no hurry to provide the answers. The title \u003cem>Petite Maman—\u003c/em>which translates literally as “Little Mom”—provides a bit of a clue. But one of the pleasures of this movie is the way it casually introduces a series of strange events as if there were nothing strange about them at all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mdORAHCydyY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At times the movie feels like a live-action version of \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/09/03/218594051/the-wondrous-melancholy-worlds-of-hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki’\u003c/a>s anime fantasies like \u003cem>Ponyo \u003c/em>or \u003cem>My Neighbor Totoro\u003c/em>: full of childlike wonderment, but also very matter-of-fact in its approach to magic. Rather than being puzzled by the situation, Nelly and Marion simply accept it and become fast friends. You accept it, too, mainly because the Sanz sisters have such a sweet and funny rapport onscreen.\u003c/p>\n\u003cp>Sciamma’s camera follows the girls as they run around the woods, gathering leaves and branches to build a hut. Eventually Marion invites Nelly over to her house, which looks an awful lot like Nelly’s grandmother’s house. There, the girls giggle as they cook up a messy pancake breakfast and act out a hilariously elaborate murder mystery. Few recent movies have so effortlessly captured the joy and creativity of children at play.\u003c/p>\n\u003cp>[aside postid='arts_13878619']\u003cem>Petite Maman\u003c/em> itself plays a kind of game with the audience, and you figure out the rules as you watch. You learn to tell the girls apart based on slight differences in hairstyle and the colors that they wear. You also get to know a few of the adult characters hovering on the periphery: At one point, Nelly introduces her father to her new best friend, and if he thinks there’s anything weird about this, he doesn’t show it. Meanwhile, Nelly’s mother—the older Marion—has temporarily left the house, needing some time to herself to grieve her mother’s death.\u003c/p>\n\u003cp>And without a hint of didacticism, \u003cem>Petite Maman\u003c/em> reveals itself as very much a movie about grief, about how a child learns to cope with sudden loss and inevitable change. It’s also about how hard it is to really know who your parents were before they became your parents. But in this movie, Nelly gets the rare chance to see or perhaps imagine her mother as the sweet, sensitive, independent-minded young girl she used to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Petite Maman\u003c/em> is decidedly different from Sciamma’s art-house touchstone \u003cem>Portrait of a Lady on Fire\u003c/em>, they’re structured in similar ways: In both films, two female characters are granted a brief, even utopian retreat from the outside world and something mysterious and beautiful transpires. If that’s not enough of an enticement, you should know that \u003cem>Petite Maman\u003c/em> runs a tight 72 minutes and achieves an emotional depth that eludes many movies twice its length. It’s funny, sad, full of enchanting possibilities and over far too soon—sort of like childhood itself.\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=%27Petite+Maman%27+is+the+best+%E2%80%94+and+most+surreal+%E2%80%94+family+movie+you%27ll+see+in+a+while&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The writer and director Céline Sciamma makes beautiful movies about girls and young women navigating the complexities of gender and sexual identity. You can tell as much from their titles: \u003ca href=\"https://www.npr.org/2011/11/16/142247936/tomboy-truths-and-dares-for-a-10-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tomboy\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2015/01/29/381866202/a-parisian-finds-her-place-in-a-rarely-seen-part-of-girlhood\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girlhood\u003c/em>\u003c/a>, \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her wonderful new film, \u003cem>Petite Maman\u003c/em>, is no less focused on the inner lives of its female characters. But it’s also something of a departure: This is Sciamma’s first work to earn a PG rating, and it’s both the best family movie and the best movie about a family that I’ve seen in some time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It tells the gently surreal story of Nelly, an 8-year-old girl played by the remarkable young Joséphine Sanz, who has long brown hair and a sharp, perceptive gaze. Nelly’s just lost her maternal grandmother after a long illness. Now, she watches as her parents go about the solemn task of packing up Grandma’s house—the very house where Nelly’s mother, Marion, grew up years earlier. To pass the time, Nelly plays in the woods surrounding the house. It’s there that she meets another 8-year-old girl, who also happens to be named Marion. She’s played by Gabrielle Sanz, Joséphine’s identical twin sister.\u003c/p>\n\u003cp>This eerie encounter naturally raises a lot of questions: Who is Marion, and why does she look so much like Nelly? Is this forest the backdrop for a modern-day fairy tale, or have we slipped through a hole in the space-time continuum? Sciamma is in no hurry to provide the answers. The title \u003cem>Petite Maman—\u003c/em>which translates literally as “Little Mom”—provides a bit of a clue. But one of the pleasures of this movie is the way it casually introduces a series of strange events as if there were nothing strange about them at all.\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/mdORAHCydyY'\n title='//www.youtube.com/embed/mdORAHCydyY'\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>At times the movie feels like a live-action version of \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/09/03/218594051/the-wondrous-melancholy-worlds-of-hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki’\u003c/a>s anime fantasies like \u003cem>Ponyo \u003c/em>or \u003cem>My Neighbor Totoro\u003c/em>: full of childlike wonderment, but also very matter-of-fact in its approach to magic. Rather than being puzzled by the situation, Nelly and Marion simply accept it and become fast friends. You accept it, too, mainly because the Sanz sisters have such a sweet and funny rapport onscreen.\u003c/p>\n\u003cp>Sciamma’s camera follows the girls as they run around the woods, gathering leaves and branches to build a hut. Eventually Marion invites Nelly over to her house, which looks an awful lot like Nelly’s grandmother’s house. There, the girls giggle as they cook up a messy pancake breakfast and act out a hilariously elaborate murder mystery. Few recent movies have so effortlessly captured the joy and creativity of children at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Petite Maman\u003c/em> itself plays a kind of game with the audience, and you figure out the rules as you watch. You learn to tell the girls apart based on slight differences in hairstyle and the colors that they wear. You also get to know a few of the adult characters hovering on the periphery: At one point, Nelly introduces her father to her new best friend, and if he thinks there’s anything weird about this, he doesn’t show it. Meanwhile, Nelly’s mother—the older Marion—has temporarily left the house, needing some time to herself to grieve her mother’s death.\u003c/p>\n\u003cp>And without a hint of didacticism, \u003cem>Petite Maman\u003c/em> reveals itself as very much a movie about grief, about how a child learns to cope with sudden loss and inevitable change. It’s also about how hard it is to really know who your parents were before they became your parents. But in this movie, Nelly gets the rare chance to see or perhaps imagine her mother as the sweet, sensitive, independent-minded young girl she used to be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Petite Maman\u003c/em> is decidedly different from Sciamma’s art-house touchstone \u003cem>Portrait of a Lady on Fire\u003c/em>, they’re structured in similar ways: In both films, two female characters are granted a brief, even utopian retreat from the outside world and something mysterious and beautiful transpires. If that’s not enough of an enticement, you should know that \u003cem>Petite Maman\u003c/em> runs a tight 72 minutes and achieves an emotional depth that eludes many movies twice its length. It’s funny, sad, full of enchanting possibilities and over far too soon—sort of like childhood itself.\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=%27Petite+Maman%27+is+the+best+%E2%80%94+and+most+surreal+%E2%80%94+family+movie+you%27ll+see+in+a+while&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "One of Judy Garland's 'Wizard of Oz' Dresses Goes Up for Sale",
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"content": "\u003cp>It’s one of the most recognizable outfits in American movie history, the blue-and-white checked gingham dress a young Judy Garland wore as Dorothy in the classic 1939 movie \u003cem>The Wizard of Oz\u003c/em>.\u003c/p>\n\u003cp>For decades, one of the versions of the dress Garland wore in the movie was assumed lost at Catholic University of America, where it had been given to someone in the drama department in the early 1970s. But the clearing out of some office clutter last year led to the finding of the dress in an old shoebox, and now it’s headed for the auction block.\u003c/p>\n\u003cfigure id=\"attachment_13912624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A blue and white checked gingham dress, worn by Judy Garland in The Wizard of Oz, hangs on display, Monday, April 25, 2022, at Bonhams in New York. \u003ccite>(AP Photo/Katie Vasquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she first saw it, “all I could think about was watching the movie when I was a child and growing up with” it, said Jacqueline Leary-Warsaw, dean of the school of music, drama and art at Catholic University, in Washington, D.C. “In a way it was like I was looking at my past childhood.”\u003c/p>\n\u003cp>[aside postid='arts_10502934']She and others are hopeful that nostalgia factor will come into play when the costume goes up for sale at Bonhams “Classic Hollywood: Film and Television” auction on May 24 in Los Angeles, where it has a presale estimate of $800,000 to $1.2 million. Bonhams has the dress on display this week at the auction house’s New York location before it is sent to California for public view and then auction.\u003c/p>\n\u003cp>Helen Hall, director of popular culture for Bonhams, said that the market for memorabilia, and film costumes in particular, is strong, and that \u003cem>The Wizard of Oz\u003c/em> is a cultural touchstone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People “very much remember the first time they saw the film, the effect it had on their lives,” she said. The film is renowned for its music, its dialogue and its visuals, particularly when Dorothy goes from drab, sepia-colored Kansas to gloriously multicolored Oz.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H_3T4DGw10U\u003c/p>\n\u003cp>There was more than one of the costume made for Garland while filming. Hall said that four are known to exist and that only two, including the one found at Catholic University, are with the blouse she wore underneath. Bonhams sold the other one with a blouse at an auction in 2015 for \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/23/457125432/a-dress-judy-garland-wore-in-the-wizard-of-oz-sells-for-more-than-1-5-million\" target=\"_blank\" rel=\"noopener noreferrer\">more than $1.5 million\u003c/a>.\u003c/p>\n\u003cp>(There are also some surviving pairs of the ruby slippers Garland wore, with one pair in the collection at the Smithsonian.)\u003c/p>\n\u003cp>The rediscovered dress had initially been given to Father Gilbert Hartke, who was then head of the university’s drama department, in 1973 by actress Mercedes McCambridge, Leary-Warsaw said, although it’s not clear how McCambridge came to have it.\u003c/p>\n\u003cp>[aside postid='pop_43089']Somehow, in the years that followed, the department lost track of the costume until it became “something that people had thought was just a myth,” she said. Last year, during preparations for a renovation, a bag containing the shoebox was opened, and there it was—though how it got to where it ended up remains a mystery, Leary-Warsaw said.\u003c/p>\n\u003cp>The dress was in good condition, aside from a piece that had been cut away, while the blouse was more fragile.\u003c/p>\n\u003cp>In researching the dress, it was determined that Garland wore it in the movie in the scene where she is confronted in a castle by a threatening Wicked Witch of the West.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The school decided to auction it off instead of keeping it, and plans to use the proceeds from the auction sale to create a full-fledged film program in the drama department.\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=A+version+of+Dorothy%27s+dress+from+%27Oz%27+goes+up+for+sale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s one of the most recognizable outfits in American movie history, the blue-and-white checked gingham dress a young Judy Garland wore as Dorothy in the classic 1939 movie \u003cem>The Wizard of Oz\u003c/em>.\u003c/p>\n\u003cp>For decades, one of the versions of the dress Garland wore in the movie was assumed lost at Catholic University of America, where it had been given to someone in the drama department in the early 1970s. But the clearing out of some office clutter last year led to the finding of the dress in an old shoebox, and now it’s headed for the auction block.\u003c/p>\n\u003cfigure id=\"attachment_13912624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ap22117631384879-b0eb73657f8b2f9a926a3ff14f6c49dcb9f1fcc6.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A blue and white checked gingham dress, worn by Judy Garland in The Wizard of Oz, hangs on display, Monday, April 25, 2022, at Bonhams in New York. \u003ccite>(AP Photo/Katie Vasquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she first saw it, “all I could think about was watching the movie when I was a child and growing up with” it, said Jacqueline Leary-Warsaw, dean of the school of music, drama and art at Catholic University, in Washington, D.C. “In a way it was like I was looking at my past childhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and others are hopeful that nostalgia factor will come into play when the costume goes up for sale at Bonhams “Classic Hollywood: Film and Television” auction on May 24 in Los Angeles, where it has a presale estimate of $800,000 to $1.2 million. Bonhams has the dress on display this week at the auction house’s New York location before it is sent to California for public view and then auction.\u003c/p>\n\u003cp>Helen Hall, director of popular culture for Bonhams, said that the market for memorabilia, and film costumes in particular, is strong, and that \u003cem>The Wizard of Oz\u003c/em> is a cultural touchstone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People “very much remember the first time they saw the film, the effect it had on their lives,” she said. The film is renowned for its music, its dialogue and its visuals, particularly when Dorothy goes from drab, sepia-colored Kansas to gloriously multicolored Oz.\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/H_3T4DGw10U'\n title='//www.youtube.com/embed/H_3T4DGw10U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was more than one of the costume made for Garland while filming. Hall said that four are known to exist and that only two, including the one found at Catholic University, are with the blouse she wore underneath. Bonhams sold the other one with a blouse at an auction in 2015 for \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/23/457125432/a-dress-judy-garland-wore-in-the-wizard-of-oz-sells-for-more-than-1-5-million\" target=\"_blank\" rel=\"noopener noreferrer\">more than $1.5 million\u003c/a>.\u003c/p>\n\u003cp>(There are also some surviving pairs of the ruby slippers Garland wore, with one pair in the collection at the Smithsonian.)\u003c/p>\n\u003cp>The rediscovered dress had initially been given to Father Gilbert Hartke, who was then head of the university’s drama department, in 1973 by actress Mercedes McCambridge, Leary-Warsaw said, although it’s not clear how McCambridge came to have it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Benito Antonio Martínez Ocasio, aka the singer Bad Bunny, doesn’t only want to sell out concert venues. Sony announced that the Grammy winner will play the lead role in Marvel’s upcoming film \u003cem>El Muerto\u003c/em>. This will be the first time a Latinx actor has their own live-action superhero film in the Marvel universe.\u003c/p>\n\u003cp>[aside postid='arts_13911337']Bad Bunny will play the character of Juan Carlos Estrada/El Muerto (the dead one), an antihero who acquires his powers from a mask that has been passed down from generation to generation. The film will be a spinoff of the Spider-Man franchise, in which El Muerto is set to attend a wrestling charity event to wrestle Spider-Man in the attempt to unmask him.\u003c/p>\n\u003cp>Bad Bunny searched the Spider-Man comic book archives for characters he thought would fit him and selected \u003cem>El Muerto\u003c/em>, who was first introduced in 2006.\u003c/p>\n\u003cp>The singer also has experience with wrestling. In 2021, he made his wrestling debut on WWE WrestleMania.\u003c/p>\n\u003cp>According to\u003cem>\u003ca href=\"https://deadline.com/2022/04/bad-bunny-spider-man-el-muerto-sonys-marvel-pic-1235009269/\" target=\"_blank\" rel=\"noopener noreferrer\"> Deadline\u003c/a>\u003c/em>, Bad Bunny told Sony Motion Picture Group President Sanford Panitch: “I love wrestling. I grew up watching wrestling and I’m a wrestler. I’m a former champion so this is why I love this character. I think it’s the perfect role to me and it will be epic.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This will not be the singer’s first experience with acting. He previously had a role on Netflix’s \u003cem>Narcos: Mexico\u003c/em> and this summer he will be on the big screen in \u003cem>Bullet Train\u003c/em>, also starring Brad Pitt and Sandra Bullock.\u003c/p>\n\u003cp>[aside postid='arts_13902470']A push for Marvel to diversify its cast seems to continue. While Mexican American actor Salma Hayek shared the stage with co-stars in 2021’s \u003cem>Eternals\u003c/em>, Bad Bunny will be the lead in \u003cem>El Muerto\u003c/em>. It wasn’t until 2018 when Chadwick Boseman starred in \u003cem>Black Panther\u003c/em> that Marvel had a non-white actor play a lead superhero role. Since then, there has also been \u003cem>Shang-Chi and the Legend of the Ten Rings,\u003c/em> starring Simu Liu and Akwafina.\u003c/p>\n\u003cp>Bad Bunny will be busy up until shooting for \u003cem>El Muerto \u003c/em>commences. Later this year he will embark on \u003cem>Bad Bunny: World’s Hottest Tour \u003c/em>and earlier this month he\u003ca href=\"https://www.instagram.com/p/Cb0SjlIF8U5/\" target=\"_blank\" rel=\"noopener noreferrer\"> announced\u003c/a> another album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film is set to premiere in theaters on Jan. 12, 2024.\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=Bad+Bunny+will+be+the+first+Latino+to+lead+a+live-action+Marvel+movie&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Benito Antonio Martínez Ocasio, aka the singer Bad Bunny, doesn’t only want to sell out concert venues. Sony announced that the Grammy winner will play the lead role in Marvel’s upcoming film \u003cem>El Muerto\u003c/em>. This will be the first time a Latinx actor has their own live-action superhero film in the Marvel universe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bad Bunny will play the character of Juan Carlos Estrada/El Muerto (the dead one), an antihero who acquires his powers from a mask that has been passed down from generation to generation. The film will be a spinoff of the Spider-Man franchise, in which El Muerto is set to attend a wrestling charity event to wrestle Spider-Man in the attempt to unmask him.\u003c/p>\n\u003cp>Bad Bunny searched the Spider-Man comic book archives for characters he thought would fit him and selected \u003cem>El Muerto\u003c/em>, who was first introduced in 2006.\u003c/p>\n\u003cp>The singer also has experience with wrestling. In 2021, he made his wrestling debut on WWE WrestleMania.\u003c/p>\n\u003cp>According to\u003cem>\u003ca href=\"https://deadline.com/2022/04/bad-bunny-spider-man-el-muerto-sonys-marvel-pic-1235009269/\" target=\"_blank\" rel=\"noopener noreferrer\"> Deadline\u003c/a>\u003c/em>, Bad Bunny told Sony Motion Picture Group President Sanford Panitch: “I love wrestling. I grew up watching wrestling and I’m a wrestler. I’m a former champion so this is why I love this character. I think it’s the perfect role to me and it will be epic.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This will not be the singer’s first experience with acting. He previously had a role on Netflix’s \u003cem>Narcos: Mexico\u003c/em> and this summer he will be on the big screen in \u003cem>Bullet Train\u003c/em>, also starring Brad Pitt and Sandra Bullock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A push for Marvel to diversify its cast seems to continue. While Mexican American actor Salma Hayek shared the stage with co-stars in 2021’s \u003cem>Eternals\u003c/em>, Bad Bunny will be the lead in \u003cem>El Muerto\u003c/em>. It wasn’t until 2018 when Chadwick Boseman starred in \u003cem>Black Panther\u003c/em> that Marvel had a non-white actor play a lead superhero role. Since then, there has also been \u003cem>Shang-Chi and the Legend of the Ten Rings,\u003c/em> starring Simu Liu and Akwafina.\u003c/p>\n\u003cp>Bad Bunny will be busy up until shooting for \u003cem>El Muerto \u003c/em>commences. Later this year he will embark on \u003cem>Bad Bunny: World’s Hottest Tour \u003c/em>and earlier this month he\u003ca href=\"https://www.instagram.com/p/Cb0SjlIF8U5/\" target=\"_blank\" rel=\"noopener noreferrer\"> announced\u003c/a> another album.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film is set to premiere in theaters on Jan. 12, 2024.\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=Bad+Bunny+will+be+the+first+Latino+to+lead+a+live-action+Marvel+movie&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "HBO's 'The Survivor' Shields Viewers From Harry Haft's Whole Truth",
"headTitle": "HBO’s ‘The Survivor’ Shields Viewers From Harry Haft’s Whole Truth | KQED",
"content": "\u003cp>There is a plethora of books and films available that portray the unfathomably cruel acts rendered commonplace during World War II. The most effective ones tend to tighten focus on individual accounts, with all of their small and devastating details. These stories do the work of making the atrocities more tangible to those of us several generations removed.\u003c/p>\n\u003cp>Hertzko “Harry” Haft’s life story is one such tale, but it raises more moral quandaries than most.\u003c/p>\n\u003cp>Haft was a Polish Jew who survived Auschwitz by bare-knuckle boxing with other prisoners at the behest—and for the entertainment—of SS guards. Haft was protected and provided with food by an officer named Schneider as long as the prisoner continued to fight. Schneider saved Haft time and time again, not just because Haft provided the guard with entertainment. Schneider was also motivated by a promise that Haft made to relay the officer’s good deeds to the allies if the German was ever captured.\u003c/p>\n\u003cp>[aside postid='arts_13877930']In Haft’s time at Auschwitz, he won all of his boxing matches, declared winner only after he had knocked out his rival. To lose the match would be to lose his life: all 76 of his opponents were immediately killed by either a bullet or the gas chamber upon defeat.\u003c/p>\n\u003cp>At the end of the war, aged 21 and having been imprisoned in seven concentration camps in five years, Haft made a dramatic escape from a Nazi death march, and began a new life in Brooklyn. He continued boxing for years after the war, his most famous fight against Rocky Marciano, one of the all-time greats. “After all I’ve been through,” Haft famously said in 1948, “what harm can a man with gloves on his hands do me?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can read the details of Haft’s fascinating life in Reinhard Kleist’s excellent 2012 graphic novel \u003ca href=\"https://www.reinhard-kleist.de/en/comics/the-boxer/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boxer\u003c/em>\u003c/a>, and in \u003ca href=\"https://www.goodreads.com/en/book/show/627025.Harry_Haft\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Haft\u003c/em>\u003c/a>, the 2006 biography by Haft’s son Alan Scott Haft, on which the graphic novel was based. Now comes HBO’s \u003cem>The Survivor\u003c/em>, a biopic directed by Barry Levinson (\u003cem>Rain Man\u003c/em>, \u003cem>Wag the Dog\u003c/em>), and consulted on by the \u003ca href=\"https://sfi.usc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">USC Shoah Foundation\u003c/a>—an organization that collects Holocaust survivor stories.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s0ETYBNs6ZA\u003c/p>\n\u003cp>\u003cem>The Survivor\u003c/em> benefits, first and foremost, from beautiful direction and an excellent cast. Ben Foster is unrecognizable as Haft, and entirely convincing at every gut-wrenching step of his performance. During scenes at Auschwitz, Foster embodies the expressions of a desperate human living perpetually in survival mode. For Haft’s early days in Brooklyn, Foster effectively captures the torment of a person attempting to live a normal life after surviving a living hell. And for Haft’s later years, Foster allows his performance to take on the gnarled and calloused edges of a man who never came to terms with what happened to him.\u003c/p>\n\u003cp>At Foster’s side in Haft’s post-war boxing world are scene-stealing performances by John Leguizamo (who plays Haft’s trainer, Pepe) and Danny DeVito (as Rocky Marciano’s trainer Charley Goldman, who secretly gave Hast tips before the big fight). Both Leguizamo and DeVito imbue the film with much-needed moments of light and humor. Meanwhile, Vicky Krieps’s portrayal of Haft’s wife, Miriam Wofsoniker, includes just the right combination of sympathy, sensitivity and frustration.\u003c/p>\n\u003cp>[aside postid='arts_13874146']\u003cem>The Survivor\u003c/em> is a stunning and heart-wrenching portrayal of one man’s literal fight to survive, and the deep emotional scars it left behind. The film quietly asks thought-provoking questions about morality, spirituality, trauma and the meaning of true strength. And the broad arc of Haft’s story, as presented here, is accurate. Where \u003cem>The Survivor\u003c/em> falters is in its compulsion to insert Hollywood versions of events in place of real-life details that would have more than sufficed. And it goes far beyond small instances of artistic license.\u003c/p>\n\u003cp>For one, the biopic glosses over the abuse to which Haft subjected his son Alan later in life. “You’re talking about a Holocaust survivor who’s got PTSD,” Alan once said of writing his father’s biography, “talking to a second-generation Holocaust survivor who’s got PTSD from having survived growing up with him.”\u003c/p>\n\u003cp>In addition, \u003cem>The Survivor\u003c/em> creates a fictional backstory for the relationship Haft had with his wife, lest the true story be deemed unromantic. In reality, Haft and Wofsoniker were neighbors who married just a week after meeting, in part because the elderly woman Haft was boarding with had died, rendering him homeless.\u003c/p>\n\u003cp>Yes, \u003cem>The Survivor\u003c/em> grittily recreates Haft’s fights at Auschwitz as he later relayed them to his son—often, fights with men far too depleted to defend themselves. There’s a harrowing depiction of the fight Haft had to win against a champion French heavyweight brought to Auschwitz by Berlin generals. But the filmmakers, apparently unsure whether the truth would suitably move the audience, also concoct a fictional scenario in which Haft is forced to fight a dear friend. This scene is taken to such an overwrought conclusion that one can only hope viewers recognize it as a fabrication. (I was compelled to fact-check it the moment it was over.)\u003c/p>\n\u003cfigure id=\"attachment_13912202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/schneider-800x515.png\" alt=\"An emaciated shirtless man with a shaved head stands with a look of steely determination. Opposite a nazi SS officer gives him instructions. Behind them, fences and other soldiers are visible.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-2048x1318.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1920x1235.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Foster as Harry Haft and Billy Magnussen as Dietrich Schneider, the SS officer who saved Haft’s life repeatedly, as long as the young man agreed to box. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Survivor\u003c/em> consistently rewrites Haft’s story to raise the emotional stakes. The conclusion presented for the relationship between Haft and SS officer Schneider is entirely (and depressingly) fabricated. Worse, tying the two men’s story up in a neat little bow impacts how \u003cem>The Survivor\u003c/em> presents Haft’s real-life escape—a story absolutely worth telling. Is the movie version more satisfying than what really happened? Of course. But at this stage in history, surely telling the truth about every detail of the Holocaust is more important.\u003c/p>\n\u003cp>The truth is that Haft’s daring escape also involved killing three civilians. While on the run, Haft killed an SS officer, stole his uniform and, shortly after, took shelter in the home of an elderly German couple. After they had welcomed him in, given him food and the chance to bathe, Haft grew fearful of being discovered as an imposter and shot them both dead. Further down the road, when a woman recognized that he was neither German nor a soldier, Haft shot her dead and told her young son to hide.\u003c/p>\n\u003cp>[aside postid='arts_13908730']Erasing the dark reality of what Haft did in pursuit of his own freedom might, on the surface, make sense: it renders Haft a more sympathetic protagonist. But this is a two-hour biopic that repeatedly asks the viewer to think about the lengths to which we might go to survive an abhorrent situation. Denying us a full picture of what Haft did to make it out alive seems in direct opposition to the movie’s primary goals.\u003c/p>\n\u003cp>In the end, \u003cem>The Survivor—\u003c/em>while compelling and impactful—squanders the opportunity to tell Harry Haft’s story as he himself was willing to do. This truth is especially important at a time when few Holocaust survivors are around to tell us exactly what happened to them. (Haft died in 2007.)\u003c/p>\n\u003cp>Changing these details wasn’t just unnecessary, it also implies Haft’s life wasn’t quite good enough, or sad enough, to tell honestly. In so doing, the project arguably passes judgment on a man who was, in impossible circumstances, simply trying to stay alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Survivor’ premieres on Holocaust Remembrance Day, Wednesday April 27, on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a plethora of books and films available that portray the unfathomably cruel acts rendered commonplace during World War II. The most effective ones tend to tighten focus on individual accounts, with all of their small and devastating details. These stories do the work of making the atrocities more tangible to those of us several generations removed.\u003c/p>\n\u003cp>Hertzko “Harry” Haft’s life story is one such tale, but it raises more moral quandaries than most.\u003c/p>\n\u003cp>Haft was a Polish Jew who survived Auschwitz by bare-knuckle boxing with other prisoners at the behest—and for the entertainment—of SS guards. Haft was protected and provided with food by an officer named Schneider as long as the prisoner continued to fight. Schneider saved Haft time and time again, not just because Haft provided the guard with entertainment. Schneider was also motivated by a promise that Haft made to relay the officer’s good deeds to the allies if the German was ever captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Haft’s time at Auschwitz, he won all of his boxing matches, declared winner only after he had knocked out his rival. To lose the match would be to lose his life: all 76 of his opponents were immediately killed by either a bullet or the gas chamber upon defeat.\u003c/p>\n\u003cp>At the end of the war, aged 21 and having been imprisoned in seven concentration camps in five years, Haft made a dramatic escape from a Nazi death march, and began a new life in Brooklyn. He continued boxing for years after the war, his most famous fight against Rocky Marciano, one of the all-time greats. “After all I’ve been through,” Haft famously said in 1948, “what harm can a man with gloves on his hands do me?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can read the details of Haft’s fascinating life in Reinhard Kleist’s excellent 2012 graphic novel \u003ca href=\"https://www.reinhard-kleist.de/en/comics/the-boxer/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Boxer\u003c/em>\u003c/a>, and in \u003ca href=\"https://www.goodreads.com/en/book/show/627025.Harry_Haft\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Haft\u003c/em>\u003c/a>, the 2006 biography by Haft’s son Alan Scott Haft, on which the graphic novel was based. Now comes HBO’s \u003cem>The Survivor\u003c/em>, a biopic directed by Barry Levinson (\u003cem>Rain Man\u003c/em>, \u003cem>Wag the Dog\u003c/em>), and consulted on by the \u003ca href=\"https://sfi.usc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">USC Shoah Foundation\u003c/a>—an organization that collects Holocaust survivor stories.\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/s0ETYBNs6ZA'\n title='//www.youtube.com/embed/s0ETYBNs6ZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Survivor\u003c/em> benefits, first and foremost, from beautiful direction and an excellent cast. Ben Foster is unrecognizable as Haft, and entirely convincing at every gut-wrenching step of his performance. During scenes at Auschwitz, Foster embodies the expressions of a desperate human living perpetually in survival mode. For Haft’s early days in Brooklyn, Foster effectively captures the torment of a person attempting to live a normal life after surviving a living hell. And for Haft’s later years, Foster allows his performance to take on the gnarled and calloused edges of a man who never came to terms with what happened to him.\u003c/p>\n\u003cp>At Foster’s side in Haft’s post-war boxing world are scene-stealing performances by John Leguizamo (who plays Haft’s trainer, Pepe) and Danny DeVito (as Rocky Marciano’s trainer Charley Goldman, who secretly gave Hast tips before the big fight). Both Leguizamo and DeVito imbue the film with much-needed moments of light and humor. Meanwhile, Vicky Krieps’s portrayal of Haft’s wife, Miriam Wofsoniker, includes just the right combination of sympathy, sensitivity and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Survivor\u003c/em> is a stunning and heart-wrenching portrayal of one man’s literal fight to survive, and the deep emotional scars it left behind. The film quietly asks thought-provoking questions about morality, spirituality, trauma and the meaning of true strength. And the broad arc of Haft’s story, as presented here, is accurate. Where \u003cem>The Survivor\u003c/em> falters is in its compulsion to insert Hollywood versions of events in place of real-life details that would have more than sufficed. And it goes far beyond small instances of artistic license.\u003c/p>\n\u003cp>For one, the biopic glosses over the abuse to which Haft subjected his son Alan later in life. “You’re talking about a Holocaust survivor who’s got PTSD,” Alan once said of writing his father’s biography, “talking to a second-generation Holocaust survivor who’s got PTSD from having survived growing up with him.”\u003c/p>\n\u003cp>In addition, \u003cem>The Survivor\u003c/em> creates a fictional backstory for the relationship Haft had with his wife, lest the true story be deemed unromantic. In reality, Haft and Wofsoniker were neighbors who married just a week after meeting, in part because the elderly woman Haft was boarding with had died, rendering him homeless.\u003c/p>\n\u003cp>Yes, \u003cem>The Survivor\u003c/em> grittily recreates Haft’s fights at Auschwitz as he later relayed them to his son—often, fights with men far too depleted to defend themselves. There’s a harrowing depiction of the fight Haft had to win against a champion French heavyweight brought to Auschwitz by Berlin generals. But the filmmakers, apparently unsure whether the truth would suitably move the audience, also concoct a fictional scenario in which Haft is forced to fight a dear friend. This scene is taken to such an overwrought conclusion that one can only hope viewers recognize it as a fabrication. (I was compelled to fact-check it the moment it was over.)\u003c/p>\n\u003cfigure id=\"attachment_13912202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/schneider-800x515.png\" alt=\"An emaciated shirtless man with a shaved head stands with a look of steely determination. Opposite a nazi SS officer gives him instructions. Behind them, fences and other soldiers are visible.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-2048x1318.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/schneider-1920x1235.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Foster as Harry Haft and Billy Magnussen as Dietrich Schneider, the SS officer who saved Haft’s life repeatedly, as long as the young man agreed to box. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Survivor\u003c/em> consistently rewrites Haft’s story to raise the emotional stakes. The conclusion presented for the relationship between Haft and SS officer Schneider is entirely (and depressingly) fabricated. Worse, tying the two men’s story up in a neat little bow impacts how \u003cem>The Survivor\u003c/em> presents Haft’s real-life escape—a story absolutely worth telling. Is the movie version more satisfying than what really happened? Of course. But at this stage in history, surely telling the truth about every detail of the Holocaust is more important.\u003c/p>\n\u003cp>The truth is that Haft’s daring escape also involved killing three civilians. While on the run, Haft killed an SS officer, stole his uniform and, shortly after, took shelter in the home of an elderly German couple. After they had welcomed him in, given him food and the chance to bathe, Haft grew fearful of being discovered as an imposter and shot them both dead. Further down the road, when a woman recognized that he was neither German nor a soldier, Haft shot her dead and told her young son to hide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Erasing the dark reality of what Haft did in pursuit of his own freedom might, on the surface, make sense: it renders Haft a more sympathetic protagonist. But this is a two-hour biopic that repeatedly asks the viewer to think about the lengths to which we might go to survive an abhorrent situation. Denying us a full picture of what Haft did to make it out alive seems in direct opposition to the movie’s primary goals.\u003c/p>\n\u003cp>In the end, \u003cem>The Survivor—\u003c/em>while compelling and impactful—squanders the opportunity to tell Harry Haft’s story as he himself was willing to do. This truth is especially important at a time when few Holocaust survivors are around to tell us exactly what happened to them. (Haft died in 2007.)\u003c/p>\n\u003cp>Changing these details wasn’t just unnecessary, it also implies Haft’s life wasn’t quite good enough, or sad enough, to tell honestly. In so doing, the project arguably passes judgment on a man who was, in impossible circumstances, simply trying to stay alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Survivor’ premieres on Holocaust Remembrance Day, Wednesday April 27, on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's How the Johnny Depp v. Amber Heard Trial is Going",
"headTitle": "Here’s How the Johnny Depp v. Amber Heard Trial is Going | KQED",
"content": "\u003cp>Johnny Depp is expected to take the stand in a Virginia court Tuesday afternoon to testify in his defamation case against his ex-wife, actor Amber Heard. Depp is suing Heard for more than $50 million, saying her claims of domestic abuse have harmed his career and reputation.\u003c/p>\n\u003cp>Heard, 35, has filed a countersuit against Depp, 58, seeking $100 million in damages and saying his legal team falsely accused her of fabricating claims against Depp.\u003c/p>\n\u003cp>[aside postid='pop_106415']The jury trial at a county courthouse in Fairfax, Va., just outside of Washington, D.C., has generated intense interest, prompting Circuit Court Judge Penney Azcarate to issue \u003ca href=\"https://www.fairfaxcounty.gov/circuit/sites/circuit/files/assets/documents/pdf/high-profile/depp%20v%20heard/cl-2019-2911-order-3-29-2022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">detailed orders\u003c/a> for journalists and spectators — including a ban on camping out on the grounds of the judicial complex.\u003c/p>\n\u003cp>Aside from the formerly married movie stars, the case could potentially draw appearances from actors Paul Bettany and James Franco, as well as Tesla CEO Elon Musk.\u003c/p>\n\u003ch3>\u003cstrong>What Depp is asking for\u003c/strong>\u003c/h3>\n\u003cp>Depp is suing Heard for three counts of defamation, citing her op-ed that was published on \u003cem>The Washington Post\u003c/em> website and in its print newspaper, as well as Heard’s posting a link to the piece via her Twitter account.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Depp is seeking at least $50 million in compensatory damages and a punitive award of at least $350,000, along with attorneys’ fees and court costs.\u003c/p>\n\u003cp>So far, witnesses have testified about alcohol and drug use by Depp and Heard, and they’ve been questioned about the fights between the former couple. Depp’s sister, Christi Dembrowski, and a longtime friend, Isaac Baruch, were among the first to testify on Depp’s behalf.\u003c/p>\n\u003cp>In a video deposition played in court, couple’s therapist Laurel Anderson, who worked with Heard and Depp before their relationship ended, described the pair as inflicting “mutual abuse” on each another, according to \u003ca href=\"https://apnews.com/article/entertainment-amber-heard-johnny-depp-lawsuits-arts-and-fe315bb74c8d89303545e366aabff89f\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003ch3>The Virginia case centers on Heard’s 2018 essay about abuse\u003c/h3>\n\u003cp>In December 2018, Heard wrote \u003ca href=\"https://www.washingtonpost.com/opinions/ive-seen-how-institutions-protect-men-accused-of-abuse-heres-what-we-can-do/2018/12/18/71fd876a-02ed-11e9-b5df-5d3874f1ac36_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">an op-ed in \u003cem>The Washington Post\u003c/em>\u003c/a> voicing her support for the Violence Against Women Act. In it, she drew on her own experiences as a survivor of sexual assault and domestic abuse.\u003c/p>\n\u003cp>“Like many women, I had been harassed and sexually assaulted by the time I was of college age,” Heard wrote. “But I kept quiet—I did not expect filing complaints to bring justice. And I didn’t see myself as a victim.”\u003c/p>\n\u003cp>[aside postid='arts_12709317']The essay didn’t directly refer to Depp by name, but \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2019/03/DeppHeard.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">his 2019 court complaint\u003c/a> states, “the op-ed plainly was about Ms. Heard’s purported victimization after she publicly accused her former husband, Johnny Depp, of domestic abuse in 2016, when she appeared in court with an apparently battered face and obtained a temporary restraining order against Mr. Depp.”\u003c/p>\n\u003cp>Heard and Depp married in February 2015. Heard filed for divorce in May 2016 and days later obtained a temporary restraining order accusing Depp of hitting her during a fight in their Los Angeles apartment. Depp denied he abused her, and police said they found no evidence of a crime.\u003c/p>\n\u003cp>When the two settled their divorce in 2017, the agreement reportedly \u003ca href=\"https://www.bbc.com/news/world-us-canada-38621519\" target=\"_blank\" rel=\"noopener noreferrer\">included a stipulation\u003c/a> in which they agreed not to discuss their relationship in public.\u003c/p>\n\u003ch3>Depp claims Heard’s allegations were a ‘hoax’ to boost her career\u003c/h3>\n\u003cp>Depp’s filing against Heard accuses her of using domestic abuse allegations to boost her career and public standing. Heard’s claims made her a “darling of the #MeToo movement” who gained prestigious positions at the United Nations Human Rights Office and the American Civil Liberties Union, as well as a deal with L’Oreal, the complaint states.\u003c/p>\n\u003cp>Depp also accuses Heard of using her allegations to promote her big-budget film \u003cem>Aquaman\u003c/em>, which was released days after the \u003cem>Post\u003c/em> essay was published. It went on to make more than $1 billion globally, the complaint notes.\u003c/p>\n\u003cp>In contrast, Depp says, his own career was severely damaged by the essay. Days after Heard’s op-ed was published, his complaint says, Disney announced it would remove Depp “from his leading role as Captain Jack Sparrow—a role that he created—in the multi-billion-dollar-earning \u003cem>Pirates of the Caribbean\u003c/em> franchise.”\u003c/p>\n\u003cp>Depp accused Heard of making false claims against him, motivated by malice. His complaint also says Heard is not a victim of abuse, but a perpetrator, accusing her of physically abusing him during their relationship.\u003c/p>\n\u003cp>The court filing also cites Heard’s 2009 arrest for domestic violence, which did not result in charges being pursued. Her partner in that relationship, Tasya van Ree, has \u003ca href=\"https://variety.com/2016/biz/news/amber-heard-domestic-violence-ex-girlfriend-responds-1201791500/\" target=\"_blank\" rel=\"noopener noreferrer\">defended Heard\u003c/a>, saying her actions were “misinterpreted and over-sensationalized.”\u003c/p>\n\u003ch3>\u003cstrong>Depp previously sued a British paper for calling him a ‘wife beater’\u003c/strong>\u003c/h3>\n\u003cp>[aside postid='arts_13889064']Depp sued British tabloid \u003cem>The Sun\u003c/em> in a U.K. court, after it called him a “wife beater” in a 2018 article.\u003c/p>\n\u003cp>In late 2020, High Court Justice Andrew Nicol ruled that the newspaper had proven its claims about Depp were “substantially true.” Nicol found that a dozen allegations of assault by Depp met legal standards, including several instances where Heard feared for her life.\u003c/p>\n\u003cp>Depp requested permission to file an appeal of Nicol’s ruling and seek a new trial, but two court of appeals judges quashed that, saying the earlier proceeding had been fair and comprehensive. The judges said Depp’s appeal had “no real prospect of success” and shouldn’t be heard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Depp’s lawyers then focused on the U.S. proceeding against Heard, promising that it would reveal details that weren’t part of the U.K. case.\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=Johnny+Depp+is+expected+to+testify+against+his+ex-wife.+Here%27s+how+the+trial+is+going&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Johnny Depp is expected to take the stand in a Virginia court Tuesday afternoon to testify in his defamation case against his ex-wife, actor Amber Heard. Depp is suing Heard for more than $50 million, saying her claims of domestic abuse have harmed his career and reputation.\u003c/p>\n\u003cp>Heard, 35, has filed a countersuit against Depp, 58, seeking $100 million in damages and saying his legal team falsely accused her of fabricating claims against Depp.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The jury trial at a county courthouse in Fairfax, Va., just outside of Washington, D.C., has generated intense interest, prompting Circuit Court Judge Penney Azcarate to issue \u003ca href=\"https://www.fairfaxcounty.gov/circuit/sites/circuit/files/assets/documents/pdf/high-profile/depp%20v%20heard/cl-2019-2911-order-3-29-2022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">detailed orders\u003c/a> for journalists and spectators — including a ban on camping out on the grounds of the judicial complex.\u003c/p>\n\u003cp>Aside from the formerly married movie stars, the case could potentially draw appearances from actors Paul Bettany and James Franco, as well as Tesla CEO Elon Musk.\u003c/p>\n\u003ch3>\u003cstrong>What Depp is asking for\u003c/strong>\u003c/h3>\n\u003cp>Depp is suing Heard for three counts of defamation, citing her op-ed that was published on \u003cem>The Washington Post\u003c/em> website and in its print newspaper, as well as Heard’s posting a link to the piece via her Twitter account.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Depp is seeking at least $50 million in compensatory damages and a punitive award of at least $350,000, along with attorneys’ fees and court costs.\u003c/p>\n\u003cp>So far, witnesses have testified about alcohol and drug use by Depp and Heard, and they’ve been questioned about the fights between the former couple. Depp’s sister, Christi Dembrowski, and a longtime friend, Isaac Baruch, were among the first to testify on Depp’s behalf.\u003c/p>\n\u003cp>In a video deposition played in court, couple’s therapist Laurel Anderson, who worked with Heard and Depp before their relationship ended, described the pair as inflicting “mutual abuse” on each another, according to \u003ca href=\"https://apnews.com/article/entertainment-amber-heard-johnny-depp-lawsuits-arts-and-fe315bb74c8d89303545e366aabff89f\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Associated Press\u003c/em>\u003c/a>.\u003c/p>\n\u003ch3>The Virginia case centers on Heard’s 2018 essay about abuse\u003c/h3>\n\u003cp>In December 2018, Heard wrote \u003ca href=\"https://www.washingtonpost.com/opinions/ive-seen-how-institutions-protect-men-accused-of-abuse-heres-what-we-can-do/2018/12/18/71fd876a-02ed-11e9-b5df-5d3874f1ac36_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">an op-ed in \u003cem>The Washington Post\u003c/em>\u003c/a> voicing her support for the Violence Against Women Act. In it, she drew on her own experiences as a survivor of sexual assault and domestic abuse.\u003c/p>\n\u003cp>“Like many women, I had been harassed and sexually assaulted by the time I was of college age,” Heard wrote. “But I kept quiet—I did not expect filing complaints to bring justice. And I didn’t see myself as a victim.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The essay didn’t directly refer to Depp by name, but \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2019/03/DeppHeard.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">his 2019 court complaint\u003c/a> states, “the op-ed plainly was about Ms. Heard’s purported victimization after she publicly accused her former husband, Johnny Depp, of domestic abuse in 2016, when she appeared in court with an apparently battered face and obtained a temporary restraining order against Mr. Depp.”\u003c/p>\n\u003cp>Heard and Depp married in February 2015. Heard filed for divorce in May 2016 and days later obtained a temporary restraining order accusing Depp of hitting her during a fight in their Los Angeles apartment. Depp denied he abused her, and police said they found no evidence of a crime.\u003c/p>\n\u003cp>When the two settled their divorce in 2017, the agreement reportedly \u003ca href=\"https://www.bbc.com/news/world-us-canada-38621519\" target=\"_blank\" rel=\"noopener noreferrer\">included a stipulation\u003c/a> in which they agreed not to discuss their relationship in public.\u003c/p>\n\u003ch3>Depp claims Heard’s allegations were a ‘hoax’ to boost her career\u003c/h3>\n\u003cp>Depp’s filing against Heard accuses her of using domestic abuse allegations to boost her career and public standing. Heard’s claims made her a “darling of the #MeToo movement” who gained prestigious positions at the United Nations Human Rights Office and the American Civil Liberties Union, as well as a deal with L’Oreal, the complaint states.\u003c/p>\n\u003cp>Depp also accuses Heard of using her allegations to promote her big-budget film \u003cem>Aquaman\u003c/em>, which was released days after the \u003cem>Post\u003c/em> essay was published. It went on to make more than $1 billion globally, the complaint notes.\u003c/p>\n\u003cp>In contrast, Depp says, his own career was severely damaged by the essay. Days after Heard’s op-ed was published, his complaint says, Disney announced it would remove Depp “from his leading role as Captain Jack Sparrow—a role that he created—in the multi-billion-dollar-earning \u003cem>Pirates of the Caribbean\u003c/em> franchise.”\u003c/p>\n\u003cp>Depp accused Heard of making false claims against him, motivated by malice. His complaint also says Heard is not a victim of abuse, but a perpetrator, accusing her of physically abusing him during their relationship.\u003c/p>\n\u003cp>The court filing also cites Heard’s 2009 arrest for domestic violence, which did not result in charges being pursued. Her partner in that relationship, Tasya van Ree, has \u003ca href=\"https://variety.com/2016/biz/news/amber-heard-domestic-violence-ex-girlfriend-responds-1201791500/\" target=\"_blank\" rel=\"noopener noreferrer\">defended Heard\u003c/a>, saying her actions were “misinterpreted and over-sensationalized.”\u003c/p>\n\u003ch3>\u003cstrong>Depp previously sued a British paper for calling him a ‘wife beater’\u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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