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"content": "\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. 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Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgYVtqeVK3I\u003c/p>\n\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>[aside postid='arts_13914146']He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. 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"content": "\u003cdiv class=\"post-body\">\u003cp>He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Judy Garland at 100: A Starter Guide Beyond the Yellow Brick Road",
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"content": "\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>[aside postid='pop_105554']But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=00aP8m5sBJo\u003c/p>\n\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OL3EIVwZ60w&t=1s\u003c/p>\n\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3aUAiLU0TI\u003c/p>\n\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q7d0NRewzW4&t=1s\u003c/p>\n\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PwA6K_EmAQ\u003c/p>\n\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K48JkClgYIs\u003c/p>\n\u003cp>[aside postid='pop_105976']Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jc1C4Pw6rxo&list=PLtpFM3sDaV_gA7QfNrH01Upo1ppGvwUdm&index=2\u003c/p>\n\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dtuqejF0Jg8\u003c/p>\n\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFVxX3RtyhQ\u003c/p>\n\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s safe to say \u003cem>The Wizard of Oz \u003c/em>has been an entry point to Judy Garland for many generations. It’s hard to imagine it any other way; encountering the movie as a child could almost be a rite of passage, and Garland’s performance as Dorothy remains indelibly embedded in popular culture more than 80 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the powerhouse entertainer born Frances Ethel Gumm famously (and luckily, for us) had so much more to give audiences over the course of her relatively short and tumultuous life. Her musical catalog is stacked with songs she introduced or made her own, and they aren’t all “Over the Rainbow.” (One among them has become \u003ca href=\"https://www.youtube.com/watch?v=CreWsnhQwzY\" target=\"_blank\" rel=\"noopener noreferrer\">a certified Christmas classic\u003c/a>.) In adulthood, she’d garner Oscar nominations and Grammy wins, and shine in performances alongside other contemporary greats, like Fred Astaire and Sammy Davis, Jr. And her artistry, vulnerability, and perseverance under the unforgiving glare of the industry and public eye firmly established her as a \u003ca href=\"https://www.bbc.com/culture/article/20190923-why-is-judy-garland-the-ultimate-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">queer icon\u003c/a>.\u003c/p>\n\u003cp>Though she died at 47 in 1969 from what was ruled an accidental barbiturate overdose, she’s remained in the public consciousness through biopics (including 2019’s \u003cem>Judy\u003c/em>, which earned Renée Zellweger her second Oscar), movie and TV show \u003ca href=\"https://www.elle.com/culture/movies-tv/a38860125/euphoria-season-2-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">needle drops\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=dyff83vrmKY#t=04m06s\" target=\"_blank\" rel=\"noopener noreferrer\">drag queens\u003c/a>, and even \u003ca href=\"https://www.tiktok.com/tag/judygarland?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tik Tok\u003c/a>.\u003c/p>\n\u003cp>And so in 2022, Judy Garland endures, for a myriad of reasons beyond \u003cem>The Wizard of Oz\u003c/em>. This month marks the centennial of her birth—the perfect occasion for the Garland-curious to finally dive into her work and unpack what made her so special, then and now. Movie \u003ca href=\"https://www.tcm.com/articles/Programming%20Article/021613/star-of-the-month-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">retrospectives\u003c/a> are \u003ca href=\"https://www.criterionchannel.com/starring-judy-garland-2\" target=\"_blank\" rel=\"noopener noreferrer\">happening\u003c/a>, and YouTube has a plethora of clips to comb through; here’s a guide to help jumpstart you on your journey beyond the yellow brick road.\u003c/p>\n\u003ch3>\u003cstrong>The beginning: little girl, big voice\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Every Sunday \u003c/strong>\u003c/em>\u003cstrong>(1936)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/00aP8m5sBJo'\n title='//www.youtube.com/embed/00aP8m5sBJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Garland was signed to a contract with MGM Studios in 1935 at the young age of 13, she’d already been in show business for almost her entire life, having worked the vaudeville circuit in an act alongside her two older siblings, performing as the Gumm Sisters. This short film catches her on the precipice of stardom, showcasing her powerful vibrato and effervescent stage presence via a song written specifically for her, “The Americana.” Fun fact: It was designed by the studio as a screen test for the executives to decide whether to keep Garland or her co-star, Deanna Durbin, a classically trained opera singer. Ultimately, Garland would stay on and Durbin would sign with Universal Studios.\u003c/p>\n\u003ch3>\u003cstrong>A star is born\u003c/strong>\u003c/h3>\n\u003cp>By 1946, a decade into her tenure at MGM, the 24-year-old Garland had made more than 20 films. They feature wonderful performances by her, but also come with asterisks for those who may be new to her work and/or to the rhythms of classic filmmaking in general. Like many musicals of its era, \u003cem>Strike Up the Band\u003c/em> primarily exists to string a bunch of \u003ca href=\"https://www.youtube.com/watch?v=fxiACPtyg6o\" target=\"_blank\" rel=\"noopener noreferrer\">rousing numbers\u003c/a> together, which may or may not be your bag. And like many performers of her era, Garland’s legacy does include unfortunate instances of \u003ca href=\"https://www.youtube.com/watch?v=UnRkS5eSu6w\" target=\"_blank\" rel=\"noopener noreferrer\">blackface\u003c/a>, in \u003cem>Everybody Sing\u003c/em> and \u003cem>Babes In Arms.\u003c/em>\u003c/p>\n\u003cp>Start with these signature roles from her MGM years instead:\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Meet Me In St. Louis\u003c/em>\u003c/strong> \u003cstrong>(1944)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OL3EIVwZ60w'\n title='//www.youtube.com/embed/OL3EIVwZ60w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She had many peaks throughout her career, and this is one of them. Garland plays Esther Smith, one of the eldest daughters in a prominent family living in St. Louis at the beginning of the 20\u003csup>th\u003c/sup> century. Through modern eyes, it’s a movie with very low stakes drama—the primary source of conflict is the family’s displeasure with the news they’ll be uprooted from their hometown to move to New York City, where a new job awaits the father, played by Leon Ames. But to paraphrase \u003ca href=\"https://www.youtube.com/watch?v=9YNFU4q_Buo\" target=\"_blank\" rel=\"noopener noreferrer\">Liza Minnelli\u003c/a>, Garland’s oldest daughter, it’s all about the feelings conveyed. And here, in one of her early transitions away from child roles, Garland give us all the feelings as an assertive, vivacious young woman determined to stay in St. Louis and catch the eye of the clueless boy next door.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Easter Parade \u003c/em>\u003c/strong>\u003cstrong>(1948)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J3aUAiLU0TI'\n title='//www.youtube.com/embed/J3aUAiLU0TI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Try to ignore the awkward age gap between Garland and her onscreen love interest Fred Astaire (23 years!) and enjoy their chemistry as a song-and-dance team in their only onscreen pairing. Astaire plays Don Hewes, a vaudeville star whose girlfriend and dance partner Nadine Hale (Ann Miller) breaks the news that she’s leaving him to pursue solo stardom. (This occurs on Easter Sunday, hence the title.) Hoping to make Nadine jealous, he hires chorus girl Hannah Brown (Garland) and vows to turn her into a star. The songs were written by Irving Berlin, and standouts include the silly tramp number “A Couple of Swells” and the torch song “Better Luck Next Time.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Summer Stock \u003c/em>\u003c/strong>\u003cstrong>(1950)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q7d0NRewzW4'\n title='//www.youtube.com/embed/q7d0NRewzW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By all accounts, Garland’s life was a shambles and her behavior behind the scenes erratic during production of this movie, her last before she was fired by MGM. Yet that’s imperceptible here, because she’s as plucky and game as ever, playing Jane, a farm owner who allows her sister’s theater troupe to rehearse in her barn. (Why yes, this is quite literally a barnyard musical.) Gene Kelly is her co-star, and Garland holds her own alongside him on the dance floor. And of course, there’s the \u003ca href=\"https://www.youtube.com/watch?v=kVYzQ5OPOHQ\" target=\"_blank\" rel=\"noopener noreferrer\">oft-referenced\u003c/a> highlight: That black fedora and tuxedo jacket, and Judy slinking along to the irresistible “Get Happy.”\u003c/p>\n\u003ch3>\u003cstrong>The drama queen\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>The Clock \u003c/em>\u003c/strong>\u003cstrong>(1945)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4PwA6K_EmAQ'\n title='//www.youtube.com/embed/4PwA6K_EmAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was extremely rare for a Garland performance not to call upon her to belt at least one tune, but she could sell a straight performance just as well as she could a song. In \u003cem>The Clock\u003c/em>, she plays a woman who meets and falls in love with a soldier, played by Robert Walker, who’s on 48-hour leave in New York City. As directed by Vincente Minnelli, the movie effectively captures the whirlwind romance and tension that grows out of their initial meet-cute in the middle of Penn Station, and Garland imbues the role with a quiet, radiating warmth.\u003c/p>\n\u003cp>This was her second collaboration with Minnelli (following \u003cem>Meet Me in St. Louis\u003c/em>) and by this point they were already romantically involved; they’d marry the same year this movie was released. The director’s admiration of Garland is evident in the way he frames her soft, ethereal close-ups.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Star Is Born \u003c/em>\u003c/strong>\u003cstrong>(1954)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K48JkClgYIs'\n title='//www.youtube.com/embed/K48JkClgYIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Versions of \u003cem>A Star Is Born\u003c/em> have come before and after Garland’s turn, but this remains the definitive iteration, perhaps because it so closely parallels aspects of its star’s life. Here she plays Esther Blodgett, a talented singer-turned movie star whose career and marriage are threatened by the presence of an addiction—except said addiction is not her own, but that of her alcoholic husband, the fading screen idol Norman Maine (James Mason). This is top-tier Garland, a performance steeped in pathos and vulnerability that will shake you to your core; she pours every fiber of her being into this tragic character, whether she’s belting an indelible torch ballad, working up a sweat in a 15-minute showstopping medley, or describing the helpless, lonely feeling of loving someone who’s slowly self-destructing before your eyes.\u003c/p>\n\u003ch3>\u003cstrong>Judy in retrospect\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>Judy at Carnegie Hall \u003c/em>\u003c/strong>\u003cstrong>(1961)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jc1C4Pw6rxo'\n title='//www.youtube.com/embed/Jc1C4Pw6rxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This live album has been called “the greatest night in show business history” for a reason. It’s Garland, following a particularly dark period in her life, flourishing in one of the only environments where she ever seemed truly at peace—live, unfiltered, on a stage, with her audience. And the audience \u003cem>adores \u003c/em>her; you can hear it in their effusive laughs whenever she tells a self-deprecating joke and in their rapturous chants for encores. Her voice, more rugged and raw than in her younger years, sounds fabulous, and as she moves through her hits and beloved standards, each one is reimagined in the process. “Over the Rainbow” has never sounded more achingly wistful than it does here; “The Man That Got Away” somehow feels even bigger and more unstoppable than it did in \u003cem>A Star Is Born\u003c/em>. You will listen once, and then, surely, you’ll want to listen again, and again.\u003c/p>\n\u003cp>\u003cstrong>“Judy Sings Lena Sings Judy,” \u003c/strong>\u003cem>\u003cstrong>The Judy Garland Show\u003c/strong>\u003c/em> \u003cstrong>(1963)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dtuqejF0Jg8'\n title='//www.youtube.com/embed/dtuqejF0Jg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>“Get Happy/Happy Days Are Here Again,” \u003c/strong>\u003cstrong>\u003cem>The Judy Garland Show \u003c/em>\u003c/strong>\u003cstrong>(1963)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zFVxX3RtyhQ'\n title='//www.youtube.com/embed/zFVxX3RtyhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Judy Garland Show \u003c/em>was short-lived—it was canceled after one season—but there are countless gems to be found streaming online. Two of the best moments find Garland dueting with another powerhouse female vocalist, Lena Horne and then-newcomer Barbra Streisand. In the former, the legends take turns singing each other’s biggest hits, and it’s an utter delight to see how their styles contrast, like Horne’s slinky, exaggerated take on “Meet Me in St. Louis” (“I didn’t know it was a sexy song!” Garland exclaims while bowling over with laughter) and Garland’s hep vibrato over “Honeysuckle Rose.” When they come together in unison for a spirited rendition of Ralph Blane and Hugh Martin’s standard “Love,” the energy is so high it can hardly be contained.\u003c/p>\n\u003cp>And then, of course, there’s the Babs. Mashing up “Get Happy” and “Happy Days Are Here Again,” their voices complement each other beautifully—Streisand’s clean and clear vocals dance lightly over Judy’s more guttural tones for most of the song, but then their bravados meld together in a triumphant climax. It’s been called a passing of the torch, as it were, from one (gay) icon to the next, and everything about it is perfect.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Judy+Garland+at+100%3A+A+starter+guide+beyond+the+Yellow+Brick+Road&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It",
"headTitle": "‘Neptune Frost’ Provides a Dizzying Twist on Black Power—And You Can Dance to It | KQED",
"content": "\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poet, musician, writer and actor Saul Williams’ wild, wonderful debut feature, \u003cem>Neptune Frost\u003c/em>, is a thoughtful and joyful ode to Black liberation and Black revolution. And as expansive as that description may be, it is insufficient to encompass the vastness of Williams’ imagination and ideas.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em>, which opens Friday, June 10 at the Roxie and June 17 at the New Parkway in Oakland (with a June 26 show at Alamo Drafthouse) after a heralded debut last year at Cannes and paeans at the Toronto, New York and Sundance festivals, depicts a world whose existence was first conjured (or at least hinted at) in Williams’ 2016 album \u003cem>MartyrLoserKing\u003c/em>. (Say that title out loud a couple times, or put “Dr.” in front of it, and another set of associations, and interpretations presents itself.)\u003c/p>\n\u003cp>Set in the hinterlands of Burundi, and peopled with a visually arresting array of colorful characters who have an innate urge to break into song, the movie delivers a radical worldview in a familiar frame—as a journey, an escape, a quest. Indeed, one of the protagonists declares, after a good deal of weirdness has already ensued, “I walk to understand.” \u003c/p>\n\u003cfigure id=\"attachment_13914609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg\" alt=\"Man in profile backlit by blue-screened monitors\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13914609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matalusa (Bertrand Netereste), a powerless coltan miner, runs away after the death of his aunt from natural causes, the murder of his brother by a brutal foreman and a sexual advance by the pastor who drops by to comfort him. (That’s just the first 15 minutes.) He eventually crosses paths with Neptune, an intersex hacker (played by both Cheryl Isheja and Elvis Ngabo) with considerable insights and powers. The characters allude throughout to a largely unseen landscape of war, authoritarianism and environmental decay, yet the movie carefully avoids crossing into post-apocalyptic dystopia.\u003c/p>\n\u003cp>So on its simplest level, \u003cem>Neptune Frost\u003c/em> (in Kinyarwanda, Kirundi, Swahili, French and English with English subtitles) is a parable of exploitation and the pursuit of freedom, justice and autonomy. But it evokes a galaxy of wide-ranging possibilities that are within our reach so long as our imaginations are not constrained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> unfolds in a gender-fluid world somewhere between, or rather among, the past and the future, replete with the occasional flashback and flash-forward. The multiverse is all the rage these days, and this ambitious and endearingly original film reimagines linear time and one-way reality with singular wit and wackiness. The thrust of Williams’ approach, in collaboration with Rwandan cinematographer and co-director Anisia Uzeyman (who’s also his partner), is more philosophical than dramatic or emotional. Or perhaps it would be more accurate to say that I was stimulated and pleased by the heady panoply of metaphors, aphorisms and themes more than by the dreams and plight of his protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13914610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg\" alt=\"Group of people with raise arms and middle fingers to camera\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_3_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to resist, however, a nocturnal dream sequence that looks like a blacklight poster brought to teeming, dripping life. Or a percussive soundtrack that links the beat of the heart to the traditions of Africa and, at the same time, rejects the Western construct of Afro-primitivism.\u003c/p>\n\u003cp>The movie is imbued with a fierceness that is never subsumed by anger—that is, frustration. Williams’ characters are the authors of their own destiny, never the victims of their circumstances. In fact, they run the planet, in the sense that miners dig up the minerals needed to fuel cellphones and the internet, and Neptune is the ultimate hot-wire ace and disruptor. (This take on Black power may sound jokey or sophomoric, but Williams and Uzeyman and their winning cast put the concept over with punch as well as panache.)\u003c/p>\n\u003cfigure id=\"attachment_13914608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg\" alt=\"Figure looks at camera through face mask of horizontal wires\" width=\"1200\" height=\"740\" class=\"size-full wp-image-13914608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/NeptuneFrost_still_1_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Saul Williams and Anisia Uzeyman’s ‘Neptune Frost.’ \u003ccite>(Courtesy Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought a lot about Sun Ra, the visionary jazz musician and original buzzy light-years traveler, while I watched \u003cem>Neptune Frost\u003c/em>. He was a dreamer of utopias, and exuded the innocence of those who create and live in their own reality. Saul Williams also dreams of a better future, but he can’t put aside Black history and Black suffering. His idea of utopia is thrilling, but it’s not unencumbered.\u003c/p>\n\u003cp>\u003cem>Neptune Frost\u003c/em> is an accessible yet dense work whose themes and metaphors intersect, overlap and fold into and around each other. It deserves to be seen twice. A walk will also be helpful, to understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Neptune Frost’ opens at the Roxie Theater (San Francisco) on June 10, the New Parkway (Oakland) on June 17 and the Alamo Drafthouse (San Francisco) on June 26.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How an Underground Network of Women Facilitated Abortions Before Roe v. Wade",
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"content": "\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”[aside postID='arts_13912860']\u003c/p>\n\u003cp>Those who sought abortions in 1960s and ’70s Chicago had every reason to be terrified. They were often completely alone—even sharing information about abortion was illegal in Illinois. If they did access the procedure, chances were it was facilitated by the mafia, or a doctor who expected sexual favors in return. They would be lucky to avoid the Cook County Hospital’s septic abortion ward, which was always full. \u003c/p>\n\u003cp>In many respects, illegal abortions closely resembled legitimate visits to the medical establishment. Women were used to being treated with condescension by male doctors; they were used to never being told what a doctor was doing to their bodies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>[aside postID='arts_13913248']Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the matter-of-fact retellings of abortion experiences that appear throughout \u003ci>\u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">The Janes\u003c/a>\u003c/i>, a single phrase is heard repeatedly: “I was terrified.”\u003c/p>\n\u003cp>Five decades later, the women telling these stories are calm—sometimes even clinical. Part of what shifts them from terror-stricken young women to engaging interview subjects is time, but many accessed that sense of agency through “Jane,” a sophisticated underground network that helped an estimated 11,000 women in Chicago get safe, affordable, illegal abortions between 1968 and 1973.\u003c/p>\n\u003cp>\u003ci>The Janes\u003c/i>, directed by Tia Lessin and Emma Pildes and premiering June 8 on HBO, is gripping. This is a documentary about criminal behavior, code names, safe houses and radical organizing. All involved faced felony charges. And yet the group felt, as one member says, an obligation “to disrespect a law that disrespected women.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the members of Jane, their work was as much about providing women with the right to choose as it was about creating a radically different healthcare experience. Over and over, the women interviewed in the film speak to the revolutionary power of being treated with respect and sensitivity, of not having to justify their reason for an abortion. \u003c/p>\n\u003cp>“It seemed odd to me that it was illegal,” remembers one, “and yet it was the best medical experience I ever had.”\u003c/p>\n\u003cfigure id=\"attachment_13914537\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg\" alt=\"Black and white image of Black woman with fro on couch\" width=\"1920\" height=\"1366\" class=\"size-full wp-image-13914537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/member-of-the-janes-1972--1536x1093.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A member of Jane in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radicalized through the anti-war, free speech and civil rights movements, and alienated by the male-dominated structure of those groups, the members of Jane were mostly white, middle-class and college educated. Many were married and had children of their own; many had experienced the stress of an illegal abortion or the difficulty of even securing a legal one for health reasons. And so instead of simply talking about women’s rights, the group scaled up and formalized activist Heather Booth’s work to connect women to trusted local abortion providers.\u003c/p>\n\u003cp>For many years, that abortionist was “Mike” (a great presence in the film), who had no scruples about the type of work he was doing, so long as he was paid for it. Later, the members of Jane would take over the actual abortions, in addition to coordinating timing, payments and transportation between the “waiting room” and “operating room” (usually borrowed apartments).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among these fascinating logistical details, \u003ci>The Janes\u003c/i> shows how the landscape dramatically changed in 1970 when New York state legalized abortion. The Clergy Consultation Service, an interdenominational group who referred women to out-of-country abortions, and worked parallel to Jane, suddenly began sending all their first trimester clients to New York. One member of the service remembers trying to negotiate a group purchase plan with United Airlines.\u003c/p>\n\u003cp>Those who could afford to travel for a legal abortion did so, leaving the lower middle class and poor women, many with children at home, as the main clients of Jane. The demographic shift was immediate: the women who came \u003ci>through\u003c/i> Jane (mostly women of color) were very different from those who \u003ci>were\u003c/i> Jane.\u003c/p>\n\u003cp>The documentary pauses here to allow former Jane members to critically reflect on the racial dynamics of their work. Marie Leaner, the only Black member of Jane featured in the documentary, remembers the group’s willingness to provide abortions to those who couldn’t afford them as “a revolutionary act.” But there is also an example of someone they possibly didn’t help enough—a 19-year-old Black woman whose previous efforts to end her pregnancy resulted in fatal septicemia.\u003c/p>\n\u003cfigure id=\"attachment_13914538\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Members-of-The-Jane.jpg\" alt=\"Four black and white mugshots of young white women \" width=\"640\" height=\"222\" class=\"size-full wp-image-13914538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Members-of-The-Jane-160x56.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Members of Jane as seen in booking photos after their arrests in 1972. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The law did eventually catch up to Jane. In the film, a bust by Chicago homicide detectives plays out like a thriller, with some comedic relief coming from the cops’ inability to understand where the doctor was hiding in the group of women. But the danger of their situation was real; seven members of Jane each faced 110 years in prison. We’re spared from seeing the women punished due to quality legal representation and the fortuitous timing of Roe v. Wade, but here the documentary meets the awkward timing of its own release.\u003c/p>\n\u003cp>Before the leaked Supreme Court opinion that spells the overturning of Roe v. Wade, \u003ci>The Janes\u003c/i>’ ending would have hit differently, triumphantly. My conclusion would have centered on its inspiring demonstrations of patient-oriented care, and all the lessons we can take from this model in a world where women’s hard-won right to an abortion is guaranteed by the highest court.\u003c/p>\n\u003cp>Now, it’s probable that projects like Jane will be undertaken once again in states across the country. History will repeat itself, and new generations will face an agonizing choice between breaking the law and facilitating bodily autonomy. \u003c/p>\n\u003cp>At least this time, there’s a guidebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Janes’ premieres Wednesday, June 8, at 9pm on HBO. \u003ca href=\"https://www.hbo.com/movies/the-janes\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Cronenberg’s New Film Returns to the Dread Zone",
"headTitle": "David Cronenberg’s New Film Returns to the Dread Zone | KQED",
"content": "\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a chilling lack of oxygen in David Cronenberg’s new film \u003ci>Crimes of the Future\u003c/i>. The director of \u003ci>The Fly\u003c/i> (1986) and \u003ci>Naked Lunch\u003c/i> (1991) places the actors in a series of tomblike airless rooms. There are no windows because, in this vision of the future, no view is worth taking in. Sunshine blinds rather than warms the souls of these seaside residents. Every interior wall is rotting and worn down. The ocean is a corrosive force advancing the city’s turn to decay. It’s as if Cronenberg has, with his characteristic morbidity, created the visual equivalent of Albert Camus’ city of Oran, from the 1947 novel \u003ci>The Plague\u003c/i>.\u003c/p>\n\u003cp>Saul (Viggo Mortensen), the director’s antihero, gasps for breath while he’s sleeping, while he’s talking, while he’s walking and while he’s eating. The relentlessness of his unnamed illness suggests that an enlightened era of medical cures is far behind us. To ease his body’s stressors, ghoulish, partially organic machines wrap themselves around Saul’s body. To help him eat, Cronenberg has reimagined a baby’s high chair as a skull-less, fleshy skeleton that rocks and spoon feeds Saul mush. His bed-cum-cradle, suspended from the ceiling, resembles an extracted uterus. \u003c/p>\n\u003cfigure id=\"attachment_13914394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg\" alt=\"Woman in red dress sits by man laying down in black hooded cloak, to right woman crouches in light blue outfit\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_2-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux, Viggo Mortensen and Kristen Stewart in ‘Crimes of the Future.’\u003cbr> \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saul lives with the pristinely dressed Caprice (Léa Seydoux), who was a surgeon in a former life. Their relationship may contain elements of love and affection but they primarily work together as performance artists. In this universe, performance artists are idolized, the way that actors and reality stars are today. Each member of the audience brings their own camera to the show, to film every second, the director implies, so they can titillate their erogenous zones when they get back home. Largely unable to interact with each other, the crowd represents an exhausted collective unconscious that feels familiar. Is this the inevitable future that comes from obsessively archiving our experiences, instantly and infinitely, draining them of any meaning? \u003c/p>\n\u003cp>In this nightmare realm, connection is only possible through pain. People “hook up” in public places with actual hooks. Cronenberg films multiple close-ups of background characters slicing into each other’s skins followed by orgasmic reaction shots. What separates Saul and Caprice from these ordinary citizens is their approach to surgery. Saul is a kind of mutant. He’s evolved with the ability to grow what are essentially vestigial organs. \u003c/p>\n\u003cp>Their performances, and others we see by their peers, are atrocity exhibitions. Cronenberg has been documenting our moral decline from the equally surgical \u003ci>Dead Ringers\u003c/i> (1988) to his more recent \u003ci>Maps of the Stars\u003c/i> (2014). But \u003ci>Crimes of the Future\u003c/i> suggests that the decline is behind us. The characters are suffering through the aftermath, where the psychic shrapnel of despair has permanently dislodged humane codes of shared conduct.\u003c/p>\n\u003cfigure id=\"attachment_13914396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg\" alt=\"Woman touches man's face as if about to kiss\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_5-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Stewart and Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cronenberg would like the audience to compare Saul’s mutations to the work of an artist. In particular to that of the director’s. \u003ci>Crimes of the Future\u003c/i> is a portrait of an artist as an old man. Saul’s organ-birthing process—like a filmmaker inventing an alternate future—is straining his body. All the physical pleasures from the past now cause pain. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is Cronenberg’s fourth film starring Mortensen and the sparest in terms of plot and character development. The actor is still a reliable avatar of masculine vulnerability, but his performance here doesn’t have much of an arc. Mortensen is buoyed, however, by Howard Shore’s synthed-up soundtrack, and his wardrobe. He’s dressed in the same black-hooded, medieval getup as the knight attempting to outwit Death in Ingmar Bergman’s allegorical film \u003ci>The Seventh Seal\u003c/i> (1957). \u003c/p>\n\u003cfigure id=\"attachment_13914393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg\" alt=\"Man in black hooded cloak looks to left\" width=\"800\" height=\"450\" class=\"size-full wp-image-13914393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/COTF_1-800x450-1-768x432.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen in ‘Crimes of the Future.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Mortensen’t attire, death isn’t the antagonist for Cronenberg. Other people are. Like those louche commercials celebrating Las Vegas, unrestrained freedom is his equivalent of the seven deadly sins; or, the ne plus ultra culmination of them. One subplot in particular embodies this criminal sense of detachment from the repugnant behavior it depicts. It involves the profoundly upsetting death of a child, an aspect of \u003ci>Crimes of the Future\u003c/i> that left a fixed feeling of dread in my stomach. Underdeveloped and under-explained, that storyline is the film’s own vestigial organ: it should have been cut out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Crimes of the Future’ opens in Bay Area theaters on Friday, June 3.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Racist 'Star Wars' Fans Aren't New. Why Doesn't Disney Do More to Protect its Actors?",
"headTitle": "Racist ‘Star Wars’ Fans Aren’t New. Why Doesn’t Disney Do More to Protect its Actors? | KQED",
"content": "\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\n\u003cp>https://twitter.com/ReignOfApril/status/1531660224456626177\u003c/p>\n\u003cp>Here’s what is surprising to me: that the media companies behind the \u003cem>Star Wars \u003c/em>juggernaut—Lucasfilm and its owner, Disney—haven’t done more to proactively support non-white actors and push back against the racism they regularly face when taking prominent roles in the franchise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>[aside postid='arts_13892633']Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\n\u003cp>https://twitter.com/YNB/status/1531760996489961472\u003c/p>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/starwars/status/1531804726165401600\u003c/p>\n\u003cp>I’m also glad Disney and Lucasfilm are committed to the kind of casting choices which may anger some fans, but ultimately prove that science fiction and fantasy stories are places where anyone can be a hero. Young children of color today who imagine themselves as the good guys in a \u003cem>Star Wars\u003c/em> story while at play, don’t have to also imagine that they are white—like fans from my generation mostly had to do.\u003c/p>\n\u003cp>[aside postid='pop_83529']It is time now to protect that progress by protecting the actors of color who make it possible. Lucasfilm and Disney must find ways to help move this conversation along—in public—so that racist fans feel less welcome to express their noxious views and actors of color don’t have to feel like targets.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most surprising thing about the racism directed at \u003cem>Obi-Wan Kenobi\u003c/em> star Moses Ingram is the fact that some people are still surprised by it.\u003c/p>\n\u003cp>After all, other actors of color who have joined the \u003cem>Star Wars\u003c/em> universe in recent years have complained about racist attacks from fans online, including \u003ca href=\"https://www.vanityfair.com/hollywood/2020/09/john-boyega-star-wars-racism-interview\" target=\"_blank\" rel=\"noopener noreferrer\">John Boyega\u003c/a> and \u003ca href=\"https://www.insider.com/kelly-marie-tran-racist-sexist-trolls-social-media-2021-3\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Marie Tran\u003c/a>.\u003c/p>\n\u003cp>So it wasn’t exactly shocking to this non-white \u003cem>Star Wars\u003c/em> fan when Ingram–whose turn as villainous Inquisitor Reva Sevander lights up the series—shared messages she received on social media from trolls using insults and the n-word to denigrate one of the most powerful Black women to join the franchise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why did Ingram have to reveal deeply hurtful and traumatizing messages to get this conversation out in the open? She has said that the studio \u003ca href=\"https://www.indiewire.com/2022/05/obi-wan-kenobi-moses-ingram-lucasfilm-warned-star-wars-racism-1234727577/\" target=\"_blank\" rel=\"noopener noreferrer\">warned her privately \u003c/a>racist fans would come after her when the TV series debuted—why didn’t they take action beforehand to denounce what they knew would likely come?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s see prominent executives talk about the racism among fans before actors of color have to go public with their trauma. Let’s see an advertising campaign directed specifically at calling out racists and uplifting non-white performers. How about social media events with fans aimed at celebrating franchise diversity before a new TV show or film even debuts?\u003c/p>\n\u003cp>It is well past time for the companies which make billions from these media properties to take action before the racists do.\u003c/p>\n\u003ch3>Diversity in the franchise brings new challenges\u003c/h3>\n\u003cp>Producers are filling \u003cem>Star Wars\u003c/em> movies with non-white stars, moving away from the franchise’s white-centered narratives in a way which makes the new stories more appealing to young audiences raised in a more multicultural society. Upcoming series \u003cem>Andor, Ahsoka \u003c/em>and \u003cem>Lando\u003c/em> have been announced, starring non-white actors Diego Luna, Rosario Dawson and Donald Glover.\u003c/p>\n\u003cp>But that diversity, welcome as it is, also turns these actors of color into targets for a disaffected portion of the fanbase who seem personally threatened by the changes. These performers already face tremendous pressure to maintain the quality of a legendary franchise; now, the public can see the extra burden they face in the form of online harassment and insults.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is also a unique crystallization of a debate we have been having in the public space over many different issues. Does amping up the racial and ethnic diversity of a storied franchise improve its storytelling or needlessly hobble it?\u003c/p>\n\u003cp>In other words, is diversity an institution’s strength or a weakness?\u003c/p>\n\u003cp>To be honest, this is a question I thought was answered long ago. Especially after one look at Chadwick Boseman in \u003cem>Black Panther\u003c/em>, Zendaya and Jacob Batalon in Marvel’s recent \u003cem>Spider-Man\u003c/em> movies, Pedro Pascal in \u003cem>The Mandalorian \u003c/em>and Dawson’s amazing performances \u003ca href=\"https://www.vanityfair.com/hollywood/2020/11/rosario-dawson-dave-filoni-mandalorian-ahsoka-tano-grogu\" target=\"_blank\" rel=\"noopener noreferrer\">bringing to life\u003c/a> the character of former Jedi Padawan Ahsoka Tano. These gifted performers have enriched the movie and TV franchises where they have appeared, thrilling us fans.\u003c/p>\n\u003cp>But they shouldn’t have to face abuse from an online mob alone to do it.\u003c/p>\n\u003ch3>An issue that reaches back to the beginning\u003c/h3>\n\u003cp>In a way, these problems trace back to the beginnings of the franchise. As I noted \u003ca href=\"https://www.npr.org/2022/05/27/1101767449/obi-wan-kenobi-star-wars-disney-review\" target=\"_blank\" rel=\"noopener noreferrer\">in my review\u003c/a> of \u003cem>Obi-Wan Kenobi,\u003c/em> \u003cem>Star Wars\u003c/em> creator George Lucas has acknowledged that the Japanese film \u003cem>The Hidden Fortress\u003c/em> \u003ca href=\"https://daily.jstor.org/is-star-wars-cultural-appropriation/\" target=\"_blank\" rel=\"noopener noreferrer\">inspired aspects of his films\u003c/a>. The style of the Jedi Knights’ clothing, their fighting style and mysticism all seem lifted from that ethos—an unfortunate example of Hollywood’s tendency to appropriate Asian culture without featuring Asian actors or characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of this, and because the original films had so little space for characters of color, it has been tough for some racist fans of the franchise to see a version of \u003cem>Star Wars\u003c/em> that is more inclusive without feeling it is somehow compromised. On one level, it is bizarre to think that people could object to Black, Latinx or Asian actors in a story set in a faraway galaxy including non-human characters that resemble outsize dogs and goldfish.\u003c/p>\n\u003cp>But quality science fiction stories are always about us humans in the time they were written, regardless of when or where they are set. So it makes sense that our current debates about tribalism, multiculturalism and equality would pop up here, too.\u003c/p>\n\u003cp>(Look up \u003ca href=\"https://en.wikipedia.org/wiki/Group_threat_theory\" target=\"_blank\" rel=\"noopener noreferrer\">the definition of\u003c/a> Group Threat Theory to see an academic explanation for how a group in the majority reacts when a smaller minority gets more power.)\u003c/p>\n\u003cp>I’m glad Ingram revealed this publicly. As a Black man who writes often about race and media, I’ve been on the receiving end of a lot of racist vitriol online myself, and it is seriously traumatizing to experience—let alone talk about openly. Still, detailing these messages are the only way to show the extent of the problem, and marshal support from non-racist fans, the studio, the press and \u003ca href=\"https://ew.com/tv/ewan-mcgregor-youre-no-star-wars-fan-bullying-moses-ingram/\" target=\"_blank\" rel=\"noopener noreferrer\">fellow actors\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These actors shouldn’t have to shoulder the extra burden of figuring out how to handle the racism unloaded on them by dozens of nameless fans. But to make that happen, the companies which employ them need to get visibly and substantially involved in working to drown out toxic voices attacking the franchise’s future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Racist+%27Star+Wars%27+fans+aren%27t+new.+Why+doesn%27t+Disney+do+more+to+protect+its+actors%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the Movies NPR Critics Are Looking Forward to This Summer",
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"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Jordan Peele's 'Nope,' 'The Bob's Burger's Movie' and 'Fire Island' with Bowen Yang all made the list. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QRyyagJ9GPo'\n title='//www.youtube.com/embed/QRyyagJ9GPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Go8nTmfrQd8'\n title='//www.youtube.com/embed/Go8nTmfrQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0IOsk2Vlc4o'\n title='//www.youtube.com/embed/0IOsk2Vlc4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TWGvntl9itE'\n title='//www.youtube.com/embed/TWGvntl9itE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ilzidi_J8Q\u003c/p>\n\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2ilzidi_J8Q'\n title='//www.youtube.com/embed/2ilzidi_J8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Americanized’ Explores Identity On and Off the Basketball Court at CAAM Fest",
"headTitle": "‘Americanized’ Explores Identity On and Off the Basketball Court at CAAM Fest | KQED",
"content": "\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\u003c/p>\n\u003cp>https://youtu.be/kDoBVpN5rY0\u003c/p>\n\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. [aside postid='arts_13823736']\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. [aside postid='arts_13913577']\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>High school. Whether you loved it or hated it, you’ll never forget those four years. Cue the not-so-cute braces, growing body parts and beginner booze. Hpnotiq, I’m looking at you.\u003c/p>\n\u003cp>While classic films like \u003cem>The Breakfast Club\u003c/em>, \u003cem>Love & Basketball\u003c/em> and \u003cem>Clueless\u003c/em> fixated on jocks, popular kids, nerds and misfits, the high school experience in a city as dynamic as Oakland is a universe of its own.\u003c/p>\n\u003cp>Writer and director \u003ca href=\"https://www.ericaeng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Eng\u003c/a> brings us back to those formative years in her 2021 short film \u003ca href=\"https://www.ericaeng.com/americanized\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Americanized\u003c/em>\u003c/a>, shot at her old stomping grounds at Skyline High School in The Town.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kDoBVpN5rY0'\n title='//www.youtube.com/embed/kDoBVpN5rY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, which screens on May 22 at Oakland’s New Parkway Theater as part of \u003ca href=\"https://caamedia.org/caamfest/\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest\u003c/a>, starts off with a cornrowed basketball player (also named Eng) slappin’ Zion I’s “\u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay\u003c/a>,” a track the Oakland-bred director listened to on repeat in college.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having been benched most of the season, the protagonist (played by Terry Hu) must fight hard to prove that, even as a newbie, she deserves her shot on the court. And like Eng in real life, the main character grapples with her identity and fitting in.\u003c/p>\n\u003cp>Looking back at her teenage years, Eng says, “I felt very Bay Area-culture embedded. I felt proud of coming from the city, and just being a part of the Bay.” The writer-director graduated high school in the early 2000s, when the hyphy movement was taking off thanks to now-iconic tracks like Mac Dre’s “Thizzle Dance.”\u003c/p>\n\u003cp>If you’re from the Bay, an unwritten code exists. It’s like, if you know, you know. “The music, the style, like the hip-hop culture, it was all to show how the main character identified with American culture the most,” Eng says.\u003c/p>\n\u003cfigure id=\"attachment_13913662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized-BTS-1-photo-cred-Pete-Lee-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erica Eng (center right) on the set of ‘Americanized.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the court, it’s another battle in the 17-minute narrative. Skyline’s Asian clique doesn’t see eye to eye with the main character and deems her too “Americanized.” “Others might feel like she doesn’t know where she comes from,” Eng explains. “And that could also be true too.”\u003c/p>\n\u003cp>The film explores Eng’s Chinese heritage when we see the protagonist’s home life and her affectionate relationship with her grandmother. However, the fictional Eng pushes her family aside. Like most teenagers, she wants to find acceptance with the kids at school instead. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My understanding of my identity didn’t just happen in high school,” Eng reflects. “It’s been something I’ve always been kind of working through until my late 20s. So, I think some of the realizations I’ve had in my life I tried to condense into the day in the life of a girl.”\u003c/p>\n\u003cp>Societal norms create all-or-nothing depictions of identity, but \u003cem>Americanized\u003c/em> refuses to put its main character in a box. “I know people look at it like, ‘Oh, the only Asian on the team,’ and I was. But it’s not about race on the team. And if people were to watch the film carefully, they never talked about race,” Eng explains. “The end of the film really talks about how she’s a bad player. And that to me was really important that people understood that nuance.”\u003c/p>\n\u003cfigure id=\"attachment_13913660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg\" alt=\"\" width=\"800\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-800x292.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1020x372.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-160x58.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-768x280.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1536x561.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-2048x748.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Americanized_FilmStill_3-DP-Drew-Daniels-1920x701.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Americanized.’ \u003ccite>(Courtesy of Erica Eng. Director of photography: Drew Daniels.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a director, Eng has created commercials for Netflix, Verizon, McAfee and Bank of America as well as numerous music videos, such as D Smoke’s “\u003ca href=\"https://www.youtube.com/watch?v=sprU1lvqacU\" target=\"_blank\" rel=\"noopener noreferrer\">Fighter\u003c/a>” and J.Lately’s “\u003ca href=\"https://www.youtube.com/watch?v=Y6fYrOmmT-w\" target=\"_blank\" rel=\"noopener noreferrer\">Papayas & Blunt Smoke\u003c/a>.”\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is the first short film Eng wrote and directed herself. It’s taken home 16 awards, including Best Dramatic Short and Audience Choice Award at Cinequest Film & VR Festival and the Young Cineastes Award at Palm Springs International ShortFest.\u003c/p>\n\u003cp>On the big screen, we get a feel of Eng’s cinematic style, alongside that of Drew Daniels, the director of photography. The film’s visual appeal comes from a mix of handheld, point-of-view tracking and close-up shots that set viewers right in the center of it all–almost like you’re a friend tagging along. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recently, Eng was chosen for Disney’s Launchpad Shorts Incubator program, SHOOT Magazine’s New Directors Showcase and Commercial Directors Diversity Program. Eng’s next short, titled \u003cem>Off Fairfax\u003c/em>, will premiere at New York’s Tribeca Film Festival in June.\u003c/p>\n\u003cp>\u003cem>Americanized\u003c/em> is a story about learning who you are and accepting the parts that you or others may view as not enough. “We’re all so similar,” Eng says. “We’re all the same, but we all feel like we’re so isolated when we’re young.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Americanized is part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=734799~d7bba85b-e59d-45d4-98ef-a83d94035b4e&epguid=9e517fbf-c251-4398-89a8-971865c19146&\" target=\"_blank\" rel=\"noopener noreferrer\">CAAMFest’s Homegrown Shorts\u003c/a> program alongside My Name is Lai (directed by Lucy Saephan), Crashing Wheels on Concrete (directed by So Young Shelly Yo), Love & Corona (directed by Nicole Maxali) and Hannah’s Biography (directed by Patricia Lee). The screening takes place on May 22 at 2pm at New Parkway Theater.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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>\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>\u003c/p>\u003c/div>",
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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>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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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