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"content": "\u003cp>Just about every era gets the great end-of-a-marriage movie it deserves, sometimes even more than one. The ’70s gave us \u003cem>Scenes From a Marriage\u003c/em> and \u003cem>Kramer vs. Kramer\u003c/em>; the past decade brought us the Iranian masterpiece \u003ca href=\"https://www.npr.org/2011/12/29/144405416/a-separation-in-tehran-houses-and-hearts-divided\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Separation\u003c/em> \u003c/a>and, more recently, the justly acclaimed \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While it doesn’t much resemble any of them, \u003cem>The Killing of Two Lovers\u003c/em> belongs in their company. It’s a tense, stripped-down, superbly acted drama about a family at a perilous moment of transition. While the movie is never as brutal as its title might suggest, the threat of brutality seems to loom over every frame.\u003c/p>\n\u003cp>Clayne Crawford and Sepideh Moafi play David and Niki, a small-town Utah couple who have recently agreed to a trial separation. David has moved in with his dad just down the road, close enough to drop in frequently on Niki and their four kids. He’s hoping for a reconciliation so that their family can get back together.\u003c/p>\n\u003cp>But Niki sees the marriage as pretty much over: She and David wed young, right out of high school, and after years of career setbacks, financial difficulties and the many challenges of raising a large family, she’s ready to move on. She’s already moved on, in fact, with a boyfriend named Derek, played by Chris Coy.\u003c/p>\n\u003cp>The terms of David and Niki’s separation allow them to see other people. But that’s small consolation for David, the story’s protagonist, who spends much of his time seething with fury. The movie begins with a scene in which you wonder if he really is going to kill the two lovers, whom he finds sleeping one morning in the bed that he used to share with his wife. Later he quietly stalks Derek around town, armed with a pistol that he looks all too willing to use. In both situations, though, his better judgment prevails and he backs down. David is capable of violence, as Crawford’s tightly wound performance makes clear. But he also turns out to be more complicated than he appears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, the entire situation is more complicated than it appears. At one point David and Niki have an agreed-upon “date night,” and it’s clear from their tender, bittersweet conversation that they still love each other deeply. That doesn’t mean the movie is necessarily rooting for their reunion; while the story isn’t told from Niki’s point of view, Moafi’s smart, empathetic performance ensures that we see her side of it. The break-up is of course hard on the kids, whom David adores and tries to spend as much time with as possible, especially his moody teenage daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hqmVhNb6Z18\u003c/p>\n\u003cp>\u003cem>The Killing of Two Lovers\u003c/em> was written and directed by Robert Machoian, a Utah photography professor who’s been making films for more than a decade, sometimes with members of his own family. (Here, his three boys play David’s sons, and his own father plays David’s father.)\u003c/p>\n\u003cp>Machoian’s style is intimate and psychologically raw: Sometimes he and his gifted cinematographer, Oscar Ignacio Jiménez, bring the camera so close that you can see David’s every wrinkle and pore. Sometimes they pull back and position him against the flat Utah landscape, whose stark, wintry beauty seems to reflect his own desolation. The movie sounds even more arresting than it looks; instead of a traditional score, it features a soundscape consisting of everyday noises—like the repeated slamming of a car door—that capture the tedium of David’s routine.\u003c/p>\n\u003cp>All this gives \u003cem>The Killing of Two Lovers\u003c/em> an extraordinary level of moment-to-moment tension even when it seems as though not much is going on. That’s part of the movie’s point: So much of the drama in our lives arises not from major events, but rather from the anguished anticipation of those major events. But while David spends a lot of his time brooding, the story never feels dull or repetitive. It’s mesmerizing to watch him respond in real time to the fraught situation that he and his family have never been through before.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I won’t reveal what happens at the end of \u003cem>The Killing of Two Lovers\u003c/em>, except to say that it is credible yet surprising, and likely to fill you with a strange mix of hope and alarm. Machoian knows that when it comes to love and family, life is full of unexpected contradictions—and he’s done a brilliant job of turning those contradictions into art.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Gripping+Marital+Drama+%27Killing+Of+Two+Lovers%27+Is+Brooding+But+Never+Dull+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[hearken id=”8284″ src=”https://modules.wearehearken.com/kqed/embed/8284.js”]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n",
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"excerpt": "See our updated list of the Bay Area's reopened arts, events and cultural experiences.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Movies Bypass Asian and Pacific Islander Actors and Directors, Study Finds",
"headTitle": "Movies Bypass Asian and Pacific Islander Actors and Directors, Study Finds | KQED",
"content": "\u003cp>The actor Dwayne Johnson is not only saving the world driving fastly and furiously, he is apparently also saving Hollywood from largely excluding Asian and Pacific Islander actors from leading roles in movies over the last dozen years, according to a new study. \u003c/p>\n\u003cp>“\u003ca href=\"http://assets.uscannenberg.org/docs/aii_aapi-representation-across-films-2021-05-18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films\u003c/a>” is another report about the pervasive whiteness of the film industry that arrives in the middle of Asian American and Pacific Islander Heritage Month and amid \u003ca href=\"https://www.npr.org/2021/03/30/982736783/biden-announces-new-steps-to-tackle-anti-asian-violence-and-discrimination\" target=\"_blank\" rel=\"noopener noreferrer\">growing anti-Asian violence\u003c/a> in the U.S. \u003c/p>\n\u003cp>As the title states, the study by Nancy Wang Yuen, Stacy L. Smith and the USC Annenberg Inclusion Initiative analyzed 1,300 top-grossing movies to track representation of API people on both sides of the camera and among company executives from 2007 to 2019. \u003c/p>\n\u003cp>The authors say what they found shows just 44 films—3.4%—featured an API lead or co-lead performer, and only six films were led or co-led by an API woman. Breaking it down further, the group’s work reveals that of those 44 movies, 14 of them starred Johnson. That is a third of the films starring API people. Additionally, nearly 40% of the films reviewed had no API representation at all.\u003c/p>\n\u003cp>“People often ask me whether representations of Asian Americans and Pacific Islanders are improving,” Yuen said. “Unfortunately, when representation looks like tokenism, Hollywood is doing the bare minimum for inclusion.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yuen noted that in 2019, 30% of API primary and secondary characters were either the only one in a film or never interacted with other API characters. “We need to see more than one API character on screen interacting with one another in meaningful ways,” she said. \u003c/p>\n\u003cp>A little more than 7% of the U.S. population identifies as API and yet, the study, which was partly funded by Amazon Studios and UTA Foundation, shows they are nearly absent from mainstream movies. And a closer look at the characters they do portray presents more disheartening information. Over 41% of API characters in top 2019 films experienced some disparagement, including racist or sexist slurs. And 25% died by the end of the movie. \u003c/p>\n\u003cp>“With the rise of anti-AAPI violence in the United States, on-screen deaths of Asians and Pacific Islander characters are particularly jarring,” Yuen said, adding that the portrayals “can fuel anti-AAPI hate.”\u003c/p>\n\u003cp>Only six of the 1,300 films analyzed featured an API girl or woman as the lead or co-lead. \u003c/p>\n\u003cp>The study follows a \u003ca href=\"https://www.npr.org/2021/05/16/997346466/80-of-asian-americans-say-they-are-discriminated-against\">recent survey\u003c/a> showing that nearly 80% of Asian Americans say they don’t feel respected and are discriminated against by their fellow Americans. In the larger pool of respondents, 42% of those surveyed say they can’t name a single prominent Asian American. \u003c/p>\n\u003cp>Research on film industry executives behind the scenes is also abysmal, according to the report. Less than 4% of the 1,447 directors across the 1,300 top films were API. \u003c/p>\n\u003cp>“Forty-seven of these API directing credits were held by men, and three by women,” the study states. \u003c/p>\n\u003cp>That doesn’t include the recent win by director \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Zhao\u003c/a>, who this year became the \u003ca href=\"https://womenandhollywood.com/chloe-zhao-makes-history-as-most-awarded-filmmaker-in-a-single-awards-season/\" target=\"_blank\" rel=\"noopener noreferrer\">most decorated filmmaker\u003c/a> in a single awards season and the first Asian woman to win the Academy Award’s best director prize for \u003cem>Nomadland\u003c/em>. Nor does it include the recent accolades for actor Steven Yeun who became the first Asian American man to land a Best Actor nomination, and \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Yuh-Jung Youn\u003c/a> who took home the Best Supporting Actress trophy, making her only the second Asian actress to win an Oscar. \u003c/p>\n\u003cp>The report notes that “not one API woman received sole directing credit of a live action film across 1,300 of the top-grossing movies from 2007–2019.”\u003c/p>\n\u003cp>Smith, who led the study alongside Yuen, says, “Inclusion of the API community thus far has been little more than lip service. Opening up opportunity behind the camera for the API community and in particular, API women, is essential to seeing more authentic, humanized portrayals on screen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Dwayne Johnson is not only saving the world driving fastly and furiously, he is apparently also saving Hollywood from largely excluding Asian and Pacific Islander actors from leading roles in movies over the last dozen years, according to a new study. \u003c/p>\n\u003cp>“\u003ca href=\"http://assets.uscannenberg.org/docs/aii_aapi-representation-across-films-2021-05-18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films\u003c/a>” is another report about the pervasive whiteness of the film industry that arrives in the middle of Asian American and Pacific Islander Heritage Month and amid \u003ca href=\"https://www.npr.org/2021/03/30/982736783/biden-announces-new-steps-to-tackle-anti-asian-violence-and-discrimination\" target=\"_blank\" rel=\"noopener noreferrer\">growing anti-Asian violence\u003c/a> in the U.S. \u003c/p>\n\u003cp>As the title states, the study by Nancy Wang Yuen, Stacy L. Smith and the USC Annenberg Inclusion Initiative analyzed 1,300 top-grossing movies to track representation of API people on both sides of the camera and among company executives from 2007 to 2019. \u003c/p>\n\u003cp>The authors say what they found shows just 44 films—3.4%—featured an API lead or co-lead performer, and only six films were led or co-led by an API woman. Breaking it down further, the group’s work reveals that of those 44 movies, 14 of them starred Johnson. That is a third of the films starring API people. Additionally, nearly 40% of the films reviewed had no API representation at all.\u003c/p>\n\u003cp>“People often ask me whether representations of Asian Americans and Pacific Islanders are improving,” Yuen said. “Unfortunately, when representation looks like tokenism, Hollywood is doing the bare minimum for inclusion.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yuen noted that in 2019, 30% of API primary and secondary characters were either the only one in a film or never interacted with other API characters. “We need to see more than one API character on screen interacting with one another in meaningful ways,” she said. \u003c/p>\n\u003cp>A little more than 7% of the U.S. population identifies as API and yet, the study, which was partly funded by Amazon Studios and UTA Foundation, shows they are nearly absent from mainstream movies. And a closer look at the characters they do portray presents more disheartening information. Over 41% of API characters in top 2019 films experienced some disparagement, including racist or sexist slurs. And 25% died by the end of the movie. \u003c/p>\n\u003cp>“With the rise of anti-AAPI violence in the United States, on-screen deaths of Asians and Pacific Islander characters are particularly jarring,” Yuen said, adding that the portrayals “can fuel anti-AAPI hate.”\u003c/p>\n\u003cp>Only six of the 1,300 films analyzed featured an API girl or woman as the lead or co-lead. \u003c/p>\n\u003cp>The study follows a \u003ca href=\"https://www.npr.org/2021/05/16/997346466/80-of-asian-americans-say-they-are-discriminated-against\">recent survey\u003c/a> showing that nearly 80% of Asian Americans say they don’t feel respected and are discriminated against by their fellow Americans. In the larger pool of respondents, 42% of those surveyed say they can’t name a single prominent Asian American. \u003c/p>\n\u003cp>Research on film industry executives behind the scenes is also abysmal, according to the report. Less than 4% of the 1,447 directors across the 1,300 top films were API. \u003c/p>\n\u003cp>“Forty-seven of these API directing credits were held by men, and three by women,” the study states. \u003c/p>\n\u003cp>That doesn’t include the recent win by director \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Zhao\u003c/a>, who this year became the \u003ca href=\"https://womenandhollywood.com/chloe-zhao-makes-history-as-most-awarded-filmmaker-in-a-single-awards-season/\" target=\"_blank\" rel=\"noopener noreferrer\">most decorated filmmaker\u003c/a> in a single awards season and the first Asian woman to win the Academy Award’s best director prize for \u003cem>Nomadland\u003c/em>. Nor does it include the recent accolades for actor Steven Yeun who became the first Asian American man to land a Best Actor nomination, and \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Yuh-Jung Youn\u003c/a> who took home the Best Supporting Actress trophy, making her only the second Asian actress to win an Oscar. \u003c/p>\n\u003cp>The report notes that “not one API woman received sole directing credit of a live action film across 1,300 of the top-grossing movies from 2007–2019.”\u003c/p>\n\u003cp>Smith, who led the study alongside Yuen, says, “Inclusion of the API community thus far has been little more than lip service. Opening up opportunity behind the camera for the API community and in particular, API women, is essential to seeing more authentic, humanized portrayals on screen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Seth Rogen on the Comedy Advice He Got at 12 That He Still Thinks About",
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"content": "\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I did very bad in school, always. My teachers did not like me. I always was getting kicked out of class in elementary school. I would just get kicked out of class all the time—which is a funny thing when you think about it. That’s how they would just deal with me: It was just like, go stand in the hall alone. I understand why it was maybe the best thing to do with me at that moment. And then in high school, I really just stopped caring about school. And very quickly I was like, this is not going to be my path to success in life. I would say I had a casual relationship with attending high school in general. [Dropping out] felt more like the very expected conclusion of what had been a long downward spiral. It was not surprising that anyone. … No one really tried to convince me to stay or even get a GED. No one in my life was like, “This is going to ruin your life if you drop out of high school!” It was very clear by then that I was highly motivated to do other things—just not academic things.\u003c/p>\n\u003cp>\u003cstrong>On having mild \u003c/strong>\u003ca href=\"https://www.cdc.gov/ncbddd/tourette/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tourette syndrome\u003c/strong>\u003c/a>\u003cstrong> and finding relief on stage \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_5105']What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ytlIXSl9GI\u003c/p>\n\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtA511lb0Sw\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\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/5ytlIXSl9GI'\n title='//www.youtube.com/embed/5ytlIXSl9GI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\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/jtA511lb0Sw'\n title='//www.youtube.com/embed/jtA511lb0Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On how Molly Ringwald picked him for \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They were looking for a square-jawed, broad-shouldered quarterback type to play her boyfriend; to play the guy from the other side of the tracks. The right side of the tracks, as it were. And I had just been in \u003cem>St. Elmo’s Fire\u003c/em>, which hadn’t come out yet, but there was some buzz about the movie. And you’re never hotter than when nobody’s seen anything you’ve done. And so I was granted this sort of courtesy audition, because I was not the square-jawed, broad-shouldered quarterback type.\u003c/p>\n\u003cp>[aside postid='pop_107900']And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>[aside postid='pop_97337']And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faoUct00qec\u003c/p>\n\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13894499']And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdpxoFcdORI\u003c/p>\n\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/faoUct00qec'\n title='//www.youtube.com/embed/faoUct00qec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\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/QdpxoFcdORI'\n title='//www.youtube.com/embed/QdpxoFcdORI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In China, a “snakehead” is a human smuggler whose clients pay a lot of money to be transported illegally to the West. Sister Tse, the single-minded protagonist of Evan Jackson Leong’s pretty/gritty debut feature, \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/snakehead/\" rel=\"noopener noreferrer\" target=\"_blank\">Snakehead\u003c/a>\u003c/em>, doesn’t have any cash, so her only way of getting to New York is to sell herself: She’ll work off the debt—to a Chinatown crime family. You can guess what job they have in mind.\u003c/p>\n\u003cp>But Sister Tse (the wiry Shuya Chang) is both tougher and smarter than the rest, and escapes the brothel to win the respect and trust of ruthless Godmother Dai Mah (Jade Wu). Garnering more responsibility and bigger paydays (including a harrowing outing as a snakehead), Sister Tse keeps one eye on her balance owed and the other on her deep-secret raison d’être: The daughter she gave up years earlier, an innocent seedling in the foul Big Apple.\u003c/p>\n\u003cp>https://youtu.be/Th3dzOAYnus\u003c/p>\n\u003cp>\u003cem>Snakehead\u003c/em>, an implausible (though enjoyable) neon-and-crimson blend of lurid underworld saga, wishful maternal drama and arthouse postcard, is hardly the Hallmark card version of the Asian American experience. Its inclusion in \u003ca href=\"https://caamfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">CAAMFest\u003c/a> (formerly the S.F. International Asian American Film Festival), as a gala presentation, no less, would have been controversial once upon a time. Not that that would have deterred the programmers; one of CAAMFest’s breakthrough—and continuing—accomplishments is demolishing the notion that an identity festival should only show positive representations. Or to put it another way, that culture (even pop) and art should function as public relations.\u003c/p>\n\u003cp>The risk always remains that portraits of flawed, complicated characters might be used to perpetuate stereotypes, I suppose. But if the last White House’s coining of “kung flu” and “Wuhan flu” told us anything, it’s that con men and bigots will use any pretense to manipulate their marks. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So CAAMFest, which runs online May 13–23 along with three drive-in programs at Fort Mason (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-15\" rel=\"noopener noreferrer\" target=\"_blank\">Hong Kong double bill\u003c/a> of Wong Kar-wai’s \u003cem>Happy Together\u003c/em> and the Bay Area premiere of Adam Wong’s \u003cem>The Way We Keep Dancing\u003c/em> on May 15), stays the course, maintaining its inclusivity along with its fearlessness. And that inclusivity extends to \u003ca href=\"https://caamfest.com/2021/free-screenings-and-events/\" rel=\"noopener noreferrer\" target=\"_blank\">free screenings\u003c/a> (the documentaries \u003cem>Amy Tan: Unintended Memoir\u003c/em>, \u003cem>The Donut King\u003c/em> and \u003cem>Ricochet\u003c/em>) and panels (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-22\" rel=\"noopener noreferrer\" target=\"_blank\">May 22 interview\u003c/a> with Evan Jackson Leong prior to \u003cem>Snakehead\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13897140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Junho_Still4_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13897140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from David Seok Hoon Boo’s ‘Junho.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco, whose screen persona seems to be evolving with the city itself, takes a twirl in the spotlight in another debut feature, David Seok Hoon Boo’s \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/junho/\" rel=\"noopener noreferrer\" target=\"_blank\">Junho\u003c/a>\u003c/em>. The titular character, a young acolyte in a South Korean acting company that operates like a hierarchy for hazing as much as a venue for theater, jets away to the Bay when a scandalous violation rocks the troupe.\u003c/p>\n\u003cp>Junho (Wonjun Jo) wasn’t the perpetrator, but he’s tormented by guilt and gutlessness. San Francisco has long represented in movies the possibility of reinvention, if not transformation, but the filmmaker (who did his graduate work at SFAI and is a cofounder of the Bay Area Film Collective) casts the city as hideout rather than catalyst. Junho drinks and rages, his nights spent working in a taco truck and his days flashing back to the young woman he befriended but didn’t protect.\u003c/p>\n\u003cp>Counterintuitively, the meandering interior journey of \u003cem>Junho\u003c/em> entails more screen time than the globe-spanning saga of \u003cem>Snakehead\u003c/em>. Eventually it sinks in for Junho, by way of the shimmering but chilly views from the Embarcadero and the unwelcoming streets of recently developed SoMa: You can run but you can’t hide—from yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>CAAMFest 2021 runs May 13–23 with online and drive-in screenings. \u003ca href=\"https://caamfest.com/2021/\" 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 China, a “snakehead” is a human smuggler whose clients pay a lot of money to be transported illegally to the West. Sister Tse, the single-minded protagonist of Evan Jackson Leong’s pretty/gritty debut feature, \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/snakehead/\" rel=\"noopener noreferrer\" target=\"_blank\">Snakehead\u003c/a>\u003c/em>, doesn’t have any cash, so her only way of getting to New York is to sell herself: She’ll work off the debt—to a Chinatown crime family. You can guess what job they have in mind.\u003c/p>\n\u003cp>But Sister Tse (the wiry Shuya Chang) is both tougher and smarter than the rest, and escapes the brothel to win the respect and trust of ruthless Godmother Dai Mah (Jade Wu). Garnering more responsibility and bigger paydays (including a harrowing outing as a snakehead), Sister Tse keeps one eye on her balance owed and the other on her deep-secret raison d’être: The daughter she gave up years earlier, an innocent seedling in the foul Big Apple.\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/Th3dzOAYnus'\n title='//www.youtube.com/embed/Th3dzOAYnus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Snakehead\u003c/em>, an implausible (though enjoyable) neon-and-crimson blend of lurid underworld saga, wishful maternal drama and arthouse postcard, is hardly the Hallmark card version of the Asian American experience. Its inclusion in \u003ca href=\"https://caamfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">CAAMFest\u003c/a> (formerly the S.F. International Asian American Film Festival), as a gala presentation, no less, would have been controversial once upon a time. Not that that would have deterred the programmers; one of CAAMFest’s breakthrough—and continuing—accomplishments is demolishing the notion that an identity festival should only show positive representations. Or to put it another way, that culture (even pop) and art should function as public relations.\u003c/p>\n\u003cp>The risk always remains that portraits of flawed, complicated characters might be used to perpetuate stereotypes, I suppose. But if the last White House’s coining of “kung flu” and “Wuhan flu” told us anything, it’s that con men and bigots will use any pretense to manipulate their marks. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So CAAMFest, which runs online May 13–23 along with three drive-in programs at Fort Mason (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-15\" rel=\"noopener noreferrer\" target=\"_blank\">Hong Kong double bill\u003c/a> of Wong Kar-wai’s \u003cem>Happy Together\u003c/em> and the Bay Area premiere of Adam Wong’s \u003cem>The Way We Keep Dancing\u003c/em> on May 15), stays the course, maintaining its inclusivity along with its fearlessness. And that inclusivity extends to \u003ca href=\"https://caamfest.com/2021/free-screenings-and-events/\" rel=\"noopener noreferrer\" target=\"_blank\">free screenings\u003c/a> (the documentaries \u003cem>Amy Tan: Unintended Memoir\u003c/em>, \u003cem>The Donut King\u003c/em> and \u003cem>Ricochet\u003c/em>) and panels (including a \u003ca href=\"https://caamfest.com/2021/schedule/?show=2021-05-22\" rel=\"noopener noreferrer\" target=\"_blank\">May 22 interview\u003c/a> with Evan Jackson Leong prior to \u003cem>Snakehead\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13897140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Junho_Still4_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13897140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Junho_Still4_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from David Seok Hoon Boo’s ‘Junho.’ \u003ccite>(CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco, whose screen persona seems to be evolving with the city itself, takes a twirl in the spotlight in another debut feature, David Seok Hoon Boo’s \u003cem>\u003ca href=\"https://caamfest.com/2021/movies/junho/\" rel=\"noopener noreferrer\" target=\"_blank\">Junho\u003c/a>\u003c/em>. The titular character, a young acolyte in a South Korean acting company that operates like a hierarchy for hazing as much as a venue for theater, jets away to the Bay when a scandalous violation rocks the troupe.\u003c/p>\n\u003cp>Junho (Wonjun Jo) wasn’t the perpetrator, but he’s tormented by guilt and gutlessness. San Francisco has long represented in movies the possibility of reinvention, if not transformation, but the filmmaker (who did his graduate work at SFAI and is a cofounder of the Bay Area Film Collective) casts the city as hideout rather than catalyst. Junho drinks and rages, his nights spent working in a taco truck and his days flashing back to the young woman he befriended but didn’t protect.\u003c/p>\n\u003cp>Counterintuitively, the meandering interior journey of \u003cem>Junho\u003c/em> entails more screen time than the globe-spanning saga of \u003cem>Snakehead\u003c/em>. Eventually it sinks in for Junho, by way of the shimmering but chilly views from the Embarcadero and the unwelcoming streets of recently developed SoMa: You can run but you can’t hide—from yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>CAAMFest 2021 runs May 13–23 with online and drive-in screenings. \u003ca href=\"https://caamfest.com/2021/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">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>\u003cp>San Francisco film noir isn’t just about darkness, as two online events hosted by the Tenderloin Museum this month prove. Led by SF Neon’s Al Barna and Randall Ann Homan and Jim Van Buskirk, co-author of \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, “Cinematic San Francisco Neon” shows excerpts from seven decade’ worth of films lit with the eerie glow of the city’s once-ubiquitous neon lights.\u003c/p>\n\u003cp>This Thursday, May 13 at 6:45pm, the \u003ca href=\"http://www.tenderloinmuseum.org/events/cinematic-sf-neon\" rel=\"noopener noreferrer\" target=\"_blank\">first program\u003c/a>, spanning films made 1947–1957, features the noir \u003ci>Dark Passage\u003c/i> (the beginning of which is shot POV through the eyes of a prison escapee who \u003ci>becomes\u003c/i> Humphrey Bogart only after plastic surgery) and Alfred Hitchcock’s well-recognized classic \u003ci>Vertigo\u003c/i>. \u003c/p>\n\u003cp>Because of what Barna and Homan say was “abundance of exciting material we’ve discovered in our research,” a \u003ca href=\"http://www.tenderloinmuseum.org/events/pal-joey-to-big-eyes\" rel=\"noopener noreferrer\" target=\"_blank\">second presentation\u003c/a> takes place two weeks later, on Thursday, May 27, to include films from 1957 through 2014, including the 1957 musical \u003ci>Pal Joey\u003c/i> and Tim Burton’s Margaret Keane biopic \u003ci>Big Eyes\u003c/i>, recently made but set in San Francisco of the past.\u003c/p>\n\u003cp>The events serve as the finale to Seasons of Neon, a series of talks and tours put on by the Tenderloin Museum and SF Neon that focused on the neighborhood as the site of the “densest concentration of extant neon in the Bay Area.” “Cinematic San Francisco Neon” is reminder of everything these still-buzzing signs convey: bygone businesses, reemerging nightlife, and the stories behind them all.\u003c/p>\n\u003cp>\u003ci>Registration is required to attend both events on Zoom, which are free with a suggested donation of $10. \u003ca href=\"http://www.tenderloinmuseum.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>[aside postid='arts_13893446']“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>[aside postid='arts_13892207']“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NBC has said “no, thanks” to the Golden Globes next year, telling the Hollywood Foreign Press Association it needs to get its act together on lack of diversity and other problems recently uncovered.\u003c/p>\n\u003cp>The network is the latest company to distance itself from the press group which has been \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">accused \u003c/a>of self-dealing, corruption and conflicts of interest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“While we commend the HFPA membership’s approval of the plan to move towards radical reform, we don’t believe the plan goes far enough in addressing the breadth of our concerns, nor does your timeline capture the immediate need by which these issues should be addressed,” WarnerMedia president Ali Sar wrote in a letter.\u003c/p>\n\u003cp>He continued: “WarnerMedia Studios and Networks will continue to refrain from direct engagement with the HFPA, including sanctioned press conferences and invitations to cover other industry events with talent, until these changes are implemented.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sar added that the boycott “includes work with HBO, HBO Max, Warner Bros. Pictures Group, Warner Bros. Television, TNT and TBS.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+Won%27t+Air+2022+Golden+Globes+In+Rebuke+To+Hollywood+Foreign+Press+Association&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Story of 'Sesame Street': From Radical Experiment to Beloved TV Mainstay",
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"content": "\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>[aside postid='arts_13895138']“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rHtU7ZkTLyo\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For generations, \u003cem>Sesame Street\u003c/em> has been a mainstay of American children’s television. But when the show premiered more than 50 years ago on Nov. 10, 1969, it was considered controversial, even radical.\u003c/p>\n\u003cp>“In 1969, what was on TV for kids was a very dire landscape,” says Marilyn Agrelo, the director of a new documentary called \u003cem>Street Gang: How We Got to Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“Basically, the programming was geared to sell children toys, Tootsie Rolls and breakfast cereals, and there was no thought of educating them in any way,” she says.\u003c/p>\n\u003cp>\u003cem>Sesame Street\u003c/em> debuted on the airwaves in a tumultuous moment in U.S. history, and the bigger forces upending American life played a big part in shaping how and what the show came to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The people that started the show were intent on harnessing all of the energy that was around the protests of the Vietnam War, the civil rights movement,” Agrelo says. “They wanted to explain the world to children, but their bigger goal was to reach inner city children of color who were not getting the same educational opportunities as white children in the suburbs were getting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on the book \u003cem>Street Gang: The Complete History of Sesame Street \u003c/em>by Michael Davis, the film weaves archival footage and interviews with the show’s longtime cast and crew. \u003cem>Street Gang\u003c/em> follows the show’s creators—Joan Ganz Cooney, Jon Stone and Jim Henson—as they craft a new way to bring educational programming into the homes of kids in all parts of the country.\u003c/p>\n\u003cp>Agrelo and actor Sonia Manzano, who played \u003cem>Sesame Street\u003c/em> resident Maria for 44 years, spoke with NPR’s \u003cem>All Things Considered\u003c/em> about why the show was so groundbreaking, why audiences connected with Muppets like Big Bird and Oscar the Grouch and its staying power, five decades on. Listen in the audio player above, and read on for a transcript of the interview.\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/rHtU7ZkTLyo'\n title='//www.youtube.com/embed/rHtU7ZkTLyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Mary Louise Kelly: Going back and watching the early episodes of the show, it is so striking. The whole idea was: This is going to look like a realistic city street. Oscar the Grouch is going to totally, plausibly live in a trash can because there’s like trash blowing down the street.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sonia Manzano:\u003c/strong> I remember being stunned when I saw the show for the first time. I was a college student at Carnegie Mellon University and there was James Earl Jones reciting the alphabet. And then they cut to Susan, the African American actress Loretta Long, on this urban street. And I was stunned because I am a Puerto Rican, from the Bronx, and I was raised in the ’50s, loved television, [but] never saw anybody who looked like me. And I began to feel on some level that I was invisible. I didn’t know what I would contribute to a society that was determined not to see me. So when I saw that show, I was absolutely thrilled.\u003c/p>\n\u003cp>\u003cstrong>And how did that inform how you played Maria?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> I became Maria and never lost sight of myself as a little kid watching television. I watched television to find comfort and order in, what seemed to me, a tumultuous world. So when I became Maria, I never forgot that. And I always assumed that some kid was out there watching me, looking for the same comfort that I looked to find on \u003cem>Leave It to Beaver\u003c/em>. Except this is going to be better because I was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13896990\" class=\"wp-caption aligncenter\" style=\"max-width: 649px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896990\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png\" alt=\"Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of 'Sesame Street.'\" width=\"649\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be.png 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/streetgang04-002-1-be1e709891abf6d059f3a6ac2428ae83af3160be-160x120.png 160w\" sizes=\"(max-width: 649px) 100vw, 649px\">\u003cfigcaption class=\"wp-caption-text\">Jim Henson, the puppeteer behind Ernie, and Frank Oz, the longtime voice of Bert, on the set of ‘Sesame Street.’ \u003ccite>(Robert Fuhring/Courtesy Sesame Workshop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have this show that set out to intentionally feature a diverse cast of kids and adults. Marilyn, talk about how that went down. There was some pushback.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Marilyn Agrelo:\u003c/strong> So in 1969, \u003cem>Sesame Street\u003c/em> unveils and there is a African American couple who live in the same neighborhood with their white neighbors—yes, with Big Bird and several other Muppets—but it’s a very integrated cast. The first time this [was] ever seen on television in Jackson, Miss., the public television station received a lot of complaints and they stopped airing the show. Miraculously, a commercial station in Jackson said, “If the public station won’t air it, then we will.” This is just an example of how groundbreaking this was.\u003c/p>\n\u003cp>\u003cstrong>Muppets, the nonhuman characters on the show, connected so much with people. I know as a kid, I was not remotely aware of a lot of the nobler advancement of social justice and racial equity that you all were grappling with, I just thought, “This is really funny.” The Count and Oscar the Grouch had me rolling on the floor.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> There were other shows with puppets on television, but there was something about the writing on \u003cem>Sesame Street.\u003c/em> You know, some of those Muppet skits had really sophisticated social satire, and this was all geared to bring the adults in. A perfect example of that is Alistair Cookie, the host of “Monsterpiece Theater.”\u003c/p>\n\u003cp>\u003cstrong>Manzano:\u003c/strong> Certainly another example of how the show worked on two levels was “\u003ca href=\"https://www.youtube.com/watch?v=51BQfPeSK8k\" target=\"_blank\" rel=\"noopener noreferrer\">It’s Not Easy Being Green\u003c/a>,” Kermit the Frog singing that wonderful song with Lena Horne, the great jazz singer-activist. And I walked into the studio that day and I said, “Gee, are they singing about what I think they’re singing about? Are they singing about race?”\u003c/p>\n\u003cp>Well, to me, they were. And that’s an example where it works on so many levels. If that’s what’s in your head, in your mind, in your experience, you would imbue that piece with that sensibility. And certainly kids did, or they just thought it was about what a drag it was to be a green Muppet. It worked on that level as well.\u003c/p>\n\u003cp>\u003cstrong>So a show that started out radical, political: Is it still, do you think? Where have we landed five decades later?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Agrelo:\u003c/strong> I think \u003cem>Sesame Street\u003c/em> is addressing the world as it is in the same way that they did then. I know that they have started writing moments where they’re explaining what a protest is. Certainly every child in America has seen the Black Lives Matter protests in the streets and sort of the upheaval that’s happening in our society again, like it did in 1969. So \u003cem>Sesame Street\u003c/em> continues to try to interpret the world with authenticity to really help explain to them what is happening around them.\u003c/p>\n\u003cp>\u003cem>Street Gang: How We Got To Sesame Street\u003c/em> is in theaters and streaming now.\u003c/p>\n\u003cfigure id=\"attachment_13896991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-3438411-b8620ea8316de07f3635107e5f81e9d344cd3ef1-800x600.jpg\" alt=\"Cast members of the television show, 'Sesame Street' on the set in 1969, the year the show debuted.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cast members of the television show, ‘Sesame Street’ on the set in 1969, the year the show debuted. \u003ccite>(Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Gringlas produced and Sarah Handel edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Story+Of+%27Sesame+Street%27%3A+From+Radical+Experiment+To+Beloved+TV+Mainstay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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