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"content": "\u003cp>The annual Christmas Day escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to a Groundhog Day marathon of \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Elf\u003c/em> and \u003cem>A Christmas Story\u003c/em>. My pick for an all-day loop is the Alameda-set \u003cem>\u003ca href=\"https://youtu.be/Ru5H3LHiU1M\" rel=\"noopener noreferrer\" target=\"_blank\">Waltz of the Snowflakes\u003c/a>\u003c/em>, a bravura collaboration between choreographer and Post:ballet artistic director Robert Dekkers, cinematographer Ben Tarquin and Post:ballet and Berkeley Ballet Theater Studio Company dance artists.\u003c/p>\n\u003cp>Another Hole in the Head Film Festival offers a weirder Dec. 25 diversion, with San Francisco Art Institute alumnus Christopher Coppola introducing his 1986 short film \u003cem>Palmer’s Pick-up\u003c/em> and his expanded 1999 feature of the same name. The streaming \u003ca href=\"https://www.ahith.com/events/sfai-benefit-palmers-pick-up-an-american-roadshow-odyssey-retrospective-with-christopher-coppola-live-intro-and-q-a\" rel=\"noopener noreferrer\" target=\"_blank\">screening\u003c/a> benefits a student scholarship fund and, adding to the cheer, Coppola joins actors Robert Carradine, Patrick Kilpatrick and Charles Fleischer for a (just guessing) nog-fueled conversation.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Soul\u003c/strong>\u003c/em>\u003cbr>\nPremieres Dec. 25\u003cbr>\nDisney Plus\u003c/p>\n\u003cp>The creative excitement in American movies these days is found in animated films. (Don’t call them cartoons). By that high standard, Pixar hews closest to the sensibility of Disney’s most happily deranged and musically inspired outlier, \u003cem>Fantasia\u003c/em>. Like that dizzy romp, \u003cem>Soul\u003c/em> is aimed at tripping hipsters along with wide-eyed children.\u003c/p>\n\u003cp>The East Bay studio’s latest beautifully rendered, mind-expanding effort was slated to open in June in theaters, but its holiday home-landing is a fine fit with its life-affirming themes. Joe (voiced by Jamie Foxx), a middle-aged Black music teacher in a New York public school, senses the window closing on his jazz dream until he catches a career break. When the rug—er, manhole cover—is yanked out from under him, he’s hurled into an alternate universe and launched on a frenetic quest to get back, Joe, where he once belonged.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Wonder Woman 1984’ and the One-Villain-Too-Many Problem | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) [aside postid='pop_101858']\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XW2E2Fnh52w\u003c/p>\n\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. [aside postid='pop_12290']\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. [aside postid='pop_101544']\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\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/XW2E2Fnh52w'\n title='//www.youtube.com/embed/XW2E2Fnh52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary",
"headTitle": "Successful, Sentimental and Satirized, ‘Love Story’ Celebrates 50th Anniversary | KQED",
"content": "\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-4jKZ3X1zQ&feature=emb_logo\u003c/p>\n\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oJCO3hh7bAg&feature=emb_log\u003c/p>\n\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-4jKZ3X1zQ'\n title='//www.youtube.com/embed/P-4jKZ3X1zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\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/oJCO3hh7bAg'\n title='//www.youtube.com/embed/oJCO3hh7bAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Holiday Rom-Coms Go Beyond Diversity to Center New Christmas Stars",
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"content": "\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. [aside postid='arts_13889581']\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. [aside postid='arts_13889735']\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) [aside postid='arts_13889748']\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "George Clooney Says 'Midnight Sky' is About 'Our Desperate Need' to Be With Loved Ones",
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"content": "\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXUUqr3AFKs\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. And you really need to have the people you were closest to as close as they can be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited the audio interview.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=George+Clooney%27s+New+Sci-Fi+Film+Is+About+%27Our+Desperate+Need%27+To+Be+With+Loved+Ones&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\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/DXUUqr3AFKs'\n title='//www.youtube.com/embed/DXUUqr3AFKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. 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"title": "'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision",
"headTitle": "‘Ma Rainey’s Black Bottom’ Shines a Light on August Wilson’s Vision | KQED",
"content": "\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ord7gP151vk\u003c/p>\n\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\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/ord7gP151vk'\n title='//www.youtube.com/embed/ord7gP151vk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Funny Boy,' a Young Sri Lankan Gay Man Comes of Age as Ethnic Tensions Explode",
"headTitle": "In ‘Funny Boy,’ a Young Sri Lankan Gay Man Comes of Age as Ethnic Tensions Explode | KQED",
"content": "\u003cp>In the opening pages of the 1994 Canadian novel \u003cem>Funny Boy\u003c/em>, a young Sri Lankan boy named Arjie refuses to play cricket with the boys as his father insists. He’d rather bedazzle in bridal reds and join the girls’ make-believe wedding.\u003c/p>\n\u003cp>Novelist \u003ca href=\"https://shyamselvadurai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shyam Selvadurai\u003c/a>‘s gay coming of age novel became a critical and commercial sensation in Canada when it was first published, enduring as a pioneering story of queerness, politics, and South Asian history. As the new film adaptation opens with the sound of the ocean—establishing the lush seafront tropical landscape of Sri Lanka—a group of girls run across the screen, with Arjie’s veil billowing in the wind, gender non-conforming and proudly leading the way.\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is directed by Oscar-nominated filmmaker \u003ca href=\"https://www.npr.org/2013/05/09/182334238/an-epic-of-india-gets-a-canvas-its-own-size\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta\u003c/a>, who has previously explored what it means to be an outsider in South Asian culture in a trilogy of acclaimed and controversial historical dramas: \u003cem>Fire\u003c/em>, \u003cem>Earth\u003c/em> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5373830\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Water\u003c/em>\u003c/a>. Like author Shyam Selvadurai, Mehta is also an immigrant to Canada and she says it was Selvadurai’s interwoven narrative of being both a migrant and a queer outsider in his own culture that made it such a powerfully layered story of selfhood.\u003c/p>\n\u003cp>“It felt like a double whammy,” she says. “Not only was it about what it’s like to leave your homeland but it combines the feeling of looking different with actually being different all your life, which was queer. It was something I’d never read before.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> tells Arjie’s coming of age story as a privileged Tamil young man against the backdrop of the late 1970s and 1980s, as ethnic tensions between Sri Lanka’s Sinhalese majority and Tamil minority explode into \u003ca href=\"https://hir.harvard.edu/sri-lankan-civil-war/\" target=\"_blank\" rel=\"noopener noreferrer\">full blown conflict\u003c/a>. As Arjie falls in love with a queer Sinhalese classmate, he’s forced to confront the hardening borders and violence of ethnic difference. The devastating Sri Lankan civil war lasted for more than two decades and displaced generations, including author Shyam Selvadurai’s own blended Tamil-Sinhalese family who went to Toronto as refugees in 1983. Selvadurai says although he found his creative community in Canada among fellow queer immigrant writers, he never came across published novels that reflected their experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oQOlnuJxU4Y\u003c/p>\n\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The beginning of talking about trauma is telling the story, and I really hope that the film opens up the story for our community,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Funny+Boy%2C%27+A+Young+Sri+Lankan+Gay+Man+Comes+Of+Age+As+Ethnic+Tensions+Explode&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening pages of the 1994 Canadian novel \u003cem>Funny Boy\u003c/em>, a young Sri Lankan boy named Arjie refuses to play cricket with the boys as his father insists. He’d rather bedazzle in bridal reds and join the girls’ make-believe wedding.\u003c/p>\n\u003cp>Novelist \u003ca href=\"https://shyamselvadurai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shyam Selvadurai\u003c/a>‘s gay coming of age novel became a critical and commercial sensation in Canada when it was first published, enduring as a pioneering story of queerness, politics, and South Asian history. As the new film adaptation opens with the sound of the ocean—establishing the lush seafront tropical landscape of Sri Lanka—a group of girls run across the screen, with Arjie’s veil billowing in the wind, gender non-conforming and proudly leading the way.\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is directed by Oscar-nominated filmmaker \u003ca href=\"https://www.npr.org/2013/05/09/182334238/an-epic-of-india-gets-a-canvas-its-own-size\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta\u003c/a>, who has previously explored what it means to be an outsider in South Asian culture in a trilogy of acclaimed and controversial historical dramas: \u003cem>Fire\u003c/em>, \u003cem>Earth\u003c/em> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5373830\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Water\u003c/em>\u003c/a>. Like author Shyam Selvadurai, Mehta is also an immigrant to Canada and she says it was Selvadurai’s interwoven narrative of being both a migrant and a queer outsider in his own culture that made it such a powerfully layered story of selfhood.\u003c/p>\n\u003cp>“It felt like a double whammy,” she says. “Not only was it about what it’s like to leave your homeland but it combines the feeling of looking different with actually being different all your life, which was queer. It was something I’d never read before.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> tells Arjie’s coming of age story as a privileged Tamil young man against the backdrop of the late 1970s and 1980s, as ethnic tensions between Sri Lanka’s Sinhalese majority and Tamil minority explode into \u003ca href=\"https://hir.harvard.edu/sri-lankan-civil-war/\" target=\"_blank\" rel=\"noopener noreferrer\">full blown conflict\u003c/a>. As Arjie falls in love with a queer Sinhalese classmate, he’s forced to confront the hardening borders and violence of ethnic difference. The devastating Sri Lankan civil war lasted for more than two decades and displaced generations, including author Shyam Selvadurai’s own blended Tamil-Sinhalese family who went to Toronto as refugees in 1983. Selvadurai says although he found his creative community in Canada among fellow queer immigrant writers, he never came across published novels that reflected their experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\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/oQOlnuJxU4Y'\n title='//www.youtube.com/embed/oQOlnuJxU4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Bayview and Beyond, All the Way to Hong Kong",
"headTitle": "Now Playing! Bayview and Beyond, All the Way to Hong Kong | KQED",
"content": "\u003cp>The local news of the week, Entertainment Division, is that the multi-talented Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) is making a half-hour, Oakland-set series for Amazon with Jharrel Jerome playing a 13-foot man-child. Riley previously described \u003ci>I’m A Virgo\u003c/i> as “dark, absurd, hilarious and important,” which jibes with the writer-director’s latest statement: “This show will either have me lauded or banned, and as such, I have demanded payment up front.”\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco\u003c/strong>\u003cbr />\nDec. 16\u003cbr />\n\u003ca href=\"https://www.eventbrite.com/e/lost-landscapes-of-san-francisco-02020-film-premiere-registration-128534984599\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Cities exist in a swirl of evolution and entropy, but San Francisco’s rate of change quickened dramatically in 2020 with the death-by-pandemic of countless restaurants and small businesses. So the aura of nostalgia that envelops Rick Prelinger’s annual compendium of 20th-century amateur films (i.e., home movies) and archival artifacts will be particularly pronounced this year. \u003c/p>\n\u003cp>Much of the fun of Lost Landscapes is hearing people yell out names and locations as places zip by in Prelinger’s seductive montage. A live chat will have to suffice instead, in this 5pm streaming presentation, with the advantage that you’ll be able to make out what everyone is yelling (that is, typing). Just don’t be surprised if the castles in the celluloid exert a stronger-than-usual emotional pull. The screening is free, though the Prelinger Library welcomes donations.\u003c/p>\n\u003cfigure id=\"attachment_13890509\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Bayview Live, held Oct. 17, 2020 by SF Urban Film Fest. \u003ccite>(Lucas Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Bayview is Alive\u003c/em>\u003c/strong>\u003cbr />\nDec. 17\u003cbr />\n\u003ca href=\"https://ybca.org/event/bayview-is-alive-film-screening-panel/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a> (online)\u003c/p>\n\u003cp>Bayview has as rich a history as any district in San Francisco, though much of it has been forgotten or erased. Important bits and pieces of that history are preserved and depicted in the murals that dot the neighborhood. And now, Susie Smith has documented four of those murals in individual short films that movingly convey the lives of everyday people.\u003c/p>\n\u003cp>These essential portraits—which should be seen by every San Franciscan—screen under the auspices of YBCA artists in residence SF Urban Film Fest, along with Shantré Pinkney’s new, immersive short filmed at a summer community event in Bayview. Then stay tuned (streamed?) for a conversation among community leaders—some of whom appear in the films—about Bayview’s past and present contributions to the fabric of San Francisco. In addition, the YBCA website features a link to the short documentary \u003cem>Point of Pride: The People’s View of Bayview/Hunter’s Point\u003c/em> (2014).\u003c/p>\n\u003cfigure id=\"attachment_13890511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13890511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Still from from tamara suarez porras’ ‘within a great silence,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>covalences: works from black hole collective film lab\u003c/em>\u003c/strong>\u003cbr />\nThrough Jan. 10, 2021\u003cbr />\n\u003ca href=\"http://www.sfcinematheque.org/video-programs/covalences-works-from-black-hole-collective-film-lab/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque\u003c/a> (online)\u003c/p>\n\u003cp>If I asked you to name the biggest champions of shooting movies on film in the digital age, you’d likely cite megalomaniac multimillionaires Christopher Nolan and Quentin Tarantino. They are the loudest, certainly, but I’m more impressed with the work of a dogged confederation of avant-garde filmmakers based in West Oakland and known as the Black Hole Collective Film Lab.\u003c/p>\n\u003cp>\u003cem>covalences\u003c/em>, a collection of experimental shorts by Alix Blevins, Anna Geyer and many others curated by BHCFL and streaming on the SF Cinematheque website, confronts us with flashes and flurries of tactile, shuddering images intended to provoke and unsettle. For those of adventurous spirit, the last sentence of the artists’ statement is irresistible: “On the one hand, this program represents to us a memorial for pre-pandemic life and on the other, an act of radical self-determination: onward movement into the fiery flames of the future.”\u003c/p>\n\u003cfigure id=\"attachment_13890507\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg\" alt=\"\" width=\"650\" height=\"420\" class=\"size-full wp-image-13890507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0-160x103.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Wong Kar Wai’s ‘As Tears Go By,’ 1988. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wong Kar Wai\u003c/strong>\u003cbr />\nOngoing\u003cbr />\n\u003ca href=\"https://bampfa.org/watch-from-home/existence-longing-wong-kar-wai\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://www.roxie.com/world-of-wong-kar-wai/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> \u003c/p>\n\u003cp>Born in Shanghai and raised in Hong Kong, Wong Kar Wai exploded on the international scene in 1988 with \u003cem>As Tears Go By\u003c/em>, a gritty gangster film suffused with unusual beauty and sensitivity. Genre filmmaking may have been WKW’s point of entry, but his métier was stylized, deeply felt melodramas full of gorgeous compositions, luscious clothes and beautiful stars like Maggie Cheung and Tony Leung.\u003c/p>\n\u003cp>From \u003cem>Days of Being Wild\u003c/em> (1990) to \u003cem>In the Mood For Love\u003c/em> (2000), WKW was \u003cem>the\u003c/em> filmmaker of the 1990s. A touring retrospective in tandem with new high-definition restorations of his wondrous films was one of the year’s most anticipated events until the pandemic pushed it online. Take a big dip into his oeuvre via the Roxie’s \u003cem>World of Wong Kar Wai\u003c/em> or BAMPFA’s \u003cem>Existence is Longing: Wong Kar Wai\u003c/em> (through Feb. 28, 2021), and your holiday romance won’t be the same.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The local news of the week, Entertainment Division, is that the multi-talented Boots Riley (\u003cem>Sorry to Bother You\u003c/em>) is making a half-hour, Oakland-set series for Amazon with Jharrel Jerome playing a 13-foot man-child. Riley previously described \u003ci>I’m A Virgo\u003c/i> as “dark, absurd, hilarious and important,” which jibes with the writer-director’s latest statement: “This show will either have me lauded or banned, and as such, I have demanded payment up front.”\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco\u003c/strong>\u003cbr />\nDec. 16\u003cbr />\n\u003ca href=\"https://www.eventbrite.com/e/lost-landscapes-of-san-francisco-02020-film-premiere-registration-128534984599\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>Cities exist in a swirl of evolution and entropy, but San Francisco’s rate of change quickened dramatically in 2020 with the death-by-pandemic of countless restaurants and small businesses. So the aura of nostalgia that envelops Rick Prelinger’s annual compendium of 20th-century amateur films (i.e., home movies) and archival artifacts will be particularly pronounced this year. \u003c/p>\n\u003cp>Much of the fun of Lost Landscapes is hearing people yell out names and locations as places zip by in Prelinger’s seductive montage. A live chat will have to suffice instead, in this 5pm streaming presentation, with the advantage that you’ll be able to make out what everyone is yelling (that is, typing). Just don’t be surprised if the castles in the celluloid exert a stronger-than-usual emotional pull. The screening is free, though the Prelinger Library welcomes donations.\u003c/p>\n\u003cfigure id=\"attachment_13890509\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BayviewLive10.17.20-142_LucasBradley_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Bayview Live, held Oct. 17, 2020 by SF Urban Film Fest. \u003ccite>(Lucas Bradley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Bayview is Alive\u003c/em>\u003c/strong>\u003cbr />\nDec. 17\u003cbr />\n\u003ca href=\"https://ybca.org/event/bayview-is-alive-film-screening-panel/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a> (online)\u003c/p>\n\u003cp>Bayview has as rich a history as any district in San Francisco, though much of it has been forgotten or erased. Important bits and pieces of that history are preserved and depicted in the murals that dot the neighborhood. And now, Susie Smith has documented four of those murals in individual short films that movingly convey the lives of everyday people.\u003c/p>\n\u003cp>These essential portraits—which should be seen by every San Franciscan—screen under the auspices of YBCA artists in residence SF Urban Film Fest, along with Shantré Pinkney’s new, immersive short filmed at a summer community event in Bayview. Then stay tuned (streamed?) for a conversation among community leaders—some of whom appear in the films—about Bayview’s past and present contributions to the fabric of San Francisco. In addition, the YBCA website features a link to the short documentary \u003cem>Point of Pride: The People’s View of Bayview/Hunter’s Point\u003c/em> (2014).\u003c/p>\n\u003cfigure id=\"attachment_13890511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13890511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/tamarasuarezporras_greatsilence_still_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" />\u003cfigcaption class=\"wp-caption-text\">Still from from tamara suarez porras’ ‘within a great silence,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>covalences: works from black hole collective film lab\u003c/em>\u003c/strong>\u003cbr />\nThrough Jan. 10, 2021\u003cbr />\n\u003ca href=\"http://www.sfcinematheque.org/video-programs/covalences-works-from-black-hole-collective-film-lab/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque\u003c/a> (online)\u003c/p>\n\u003cp>If I asked you to name the biggest champions of shooting movies on film in the digital age, you’d likely cite megalomaniac multimillionaires Christopher Nolan and Quentin Tarantino. They are the loudest, certainly, but I’m more impressed with the work of a dogged confederation of avant-garde filmmakers based in West Oakland and known as the Black Hole Collective Film Lab.\u003c/p>\n\u003cp>\u003cem>covalences\u003c/em>, a collection of experimental shorts by Alix Blevins, Anna Geyer and many others curated by BHCFL and streaming on the SF Cinematheque website, confronts us with flashes and flurries of tactile, shuddering images intended to provoke and unsettle. For those of adventurous spirit, the last sentence of the artists’ statement is irresistible: “On the one hand, this program represents to us a memorial for pre-pandemic life and on the other, an act of radical self-determination: onward movement into the fiery flames of the future.”\u003c/p>\n\u003cfigure id=\"attachment_13890507\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg\" alt=\"\" width=\"650\" height=\"420\" class=\"size-full wp-image-13890507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Wong_As-Tears-Go-By_002-2_1200_0-160x103.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\" />\u003cfigcaption class=\"wp-caption-text\">Still from Wong Kar Wai’s ‘As Tears Go By,’ 1988. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wong Kar Wai\u003c/strong>\u003cbr />\nOngoing\u003cbr />\n\u003ca href=\"https://bampfa.org/watch-from-home/existence-longing-wong-kar-wai\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and \u003ca href=\"https://www.roxie.com/world-of-wong-kar-wai/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> \u003c/p>\n\u003cp>Born in Shanghai and raised in Hong Kong, Wong Kar Wai exploded on the international scene in 1988 with \u003cem>As Tears Go By\u003c/em>, a gritty gangster film suffused with unusual beauty and sensitivity. Genre filmmaking may have been WKW’s point of entry, but his métier was stylized, deeply felt melodramas full of gorgeous compositions, luscious clothes and beautiful stars like Maggie Cheung and Tony Leung.\u003c/p>\n\u003cp>From \u003cem>Days of Being Wild\u003c/em> (1990) to \u003cem>In the Mood For Love\u003c/em> (2000), WKW was \u003cem>the\u003c/em> filmmaker of the 1990s. A touring retrospective in tandem with new high-definition restorations of his wondrous films was one of the year’s most anticipated events until the pandemic pushed it online. Take a big dip into his oeuvre via the Roxie’s \u003cem>World of Wong Kar Wai\u003c/em> or BAMPFA’s \u003cem>Existence is Longing: Wong Kar Wai\u003c/em> (through Feb. 28, 2021), and your holiday romance won’t be the same.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“We must do what we’re told!”\u003c/p>\n\u003cp>“But why, Father? Why?”\u003c/p>\n\u003cp>“… I’m afraid.”\u003c/p>\n\u003cp>That sudden, self-lacerating epiphany comes near the end of the animated film \u003cem>Wolfwalkers\u003c/em>, debuting on AppleTV+ on Friday.\u003c/p>\n\u003cp>It’s not the kind of tidy object-lesson generally served up in movies made for kids, which tend to run more in the \u003cem>Believe in Yourself/Follow Your Passion/You are Special\u003c/em> vein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_Z_tybgPgg\u003c/p>\n\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\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/d_Z_tybgPgg'\n title='//www.youtube.com/embed/d_Z_tybgPgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Festivals Go Out with a Bang and a Boo!",
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"content": "\u003cp>In a normal year—won’t it be sweet when we can retire that phrase from our lexicon?—our screens would be chock-a-block with glittery trailers for holiday movies. Our local festival programmers, meanwhile, would be on hiatus except for the year-end fundraising email, mulling next year’s events.\u003c/p>\n\u003cp>But everything’s upside down in our ongoing Bizarro World. The only major studio films of the season, \u003cem>Wonder Woman 1984\u003c/em> and \u003cem>Soul\u003c/em>, are delayed summer releases that will be viewed, overwhelmingly, on home streaming platforms (HBO Max and Disney+, respectively). Festival wizards, on the other hand, are plying us with rare December programs. And are we grateful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>SF Jewish Film Festival 40th Anniversary Hanukkah Celebration\u003c/strong>\u003cbr>\nDec. 10–17\u003cbr>\n\u003ca href=\"https://jfi.org/jfi40\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The SFJFF canceled its annual big summer bash on account of the pandemic, and this eight-day program (to correspond to the Festival of Lights) is the second online mini-fest assembled by the venerable organization this year. The lineup includes several familiar names, including preeminent Israeli director Eytan Fox’s big-screen return to romantic drama, \u003cem>Sublet\u003c/em>. The remarkable Lynne Sachs continues her rewarding adventures in personal, poetic documentary with \u003cem>Film About a Father Who\u003c/em>. If you missed the crowd-pleasers \u003cem>Oliver Sacks: His Own Life\u003c/em> and \u003cem>When Hitler Stole Pink Rabbit\u003c/em> during their previous Bay Area presentations, you have another chance.\u003c/p>\n\u003cp>As for new voices, Yossi Atia’s slight slacker comedy \u003cem>Born in Jerusalem and Still Alive\u003c/em> expands on his short film of the same name. This debut feature accompanies underachieving 30-something tour guide Ronen (played by Atia) on his free daily walks to the sites of terrorist attacks of the 1990s and 2000s. The premise is subversive, if not taboo, but the movie doesn’t mine either its sociological or political implications. \u003cem>Born in Jerusalem and Still Alive\u003c/em> suffers more than any other movie in the festival by not being seen in a theater with a crowd, where the minor-key absurdism and deadpan jokes would build to, if not a cascade, at least a steady trickle. \u003c/p>\n\u003cfigure id=\"attachment_13890268\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Padrenostro.’ \u003ccite>(Courtesy of SIFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Cinema Italian Style 2020\u003c/strong>\u003cbr>\nDec. 10–17\u003cbr>\n\u003ca href=\"https://www.siff.net/year-round-cinema/film-festivals/cinema-italian-style#elevent\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a> \u003c/p>\n\u003cp>Since we can’t holiday abroad, the next best thing is a virtual trip to picturesque, cinematic Italy. Food, family, midlife messes, existential crises, criminal conflagrations—this survey of contemporary Italian film assembled by a host of organizations, including Luce Cinecittà and the Italian Cultural Institute of San Francisco, brims with life. \u003c/p>\n\u003cp>Highlights include Claudio Noce’s 1970s-set, semi-autobiographical \u003cem>Padrenostro\u003c/em>, a coming-of-age saga triggered by the near-murder of the lad’s father (Pierfrancesco Favino, Best Actor at the Venice Film Festival). \u003cem>Goddess of Fortune\u003c/em>, directed by the renowned Ferzan Ozpetek and featuring Jasmine Trinca’s Donatello Award-winning performance, imagines the suffering of a longtime couple on the rocks interrupted by an old friend and his boisterous kids. In the spirit of the season, Francesco Bruni’s saga of a filmmaker in a downward spiral, \u003cem>Everything’s Going to Be Alright\u003c/em>, kindles the hope and redemption promised by its title.\u003c/p>\n\u003cfigure id=\"attachment_13890269\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/andreas-fault.jpg\" alt=\"\" width=\"1374\" height=\"561\" class=\"size-full wp-image-13890269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-800x327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-1020x416.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-768x314.jpg 768w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Andrea’s Fault.’ \u003ccite>(Courtesy SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another Hole in the Head Film Festival\u003c/strong>\u003cbr>\nDec. 11–27\u003cbr>\n\u003ca href=\"https://www.ahith.com/filmfestival\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The SF Indiefest family’s annual compendium of horror, paranoia, fantasy and freakiness bills itself as the last film festival of 2020. In the dying days of the Year of the Plague, I take that as a declaration of defiance and a proclamation of persistence—confronting our fears and coming out the other side, and all that. Surely after the last four years, er, 10 months, no one craves being terrified for its own sake, do they?\u003c/p>\n\u003cp>I direct you to the handiwork of Bay Area filmmakers, led by \u003cem>Murder Bury Win\u003c/em>, Michael Lovan’s cunning and devious yarn about the unexpected need for the inventors of a board game—whose object is to get away with murder—to, um, evade attention in the wake of a fatal incident. Who among us hasn’t imagined him or herself in a similar predicament, at least in normal times when visiting family was a holiday ritual.\u003c/p>\n\u003cp>\u003cem>Local Shorts\u003c/em> serves up nine unsettling celluloid dream-states by talents such as Noel Rafizadeh-Kabe, Ingrid Jung, Dustin B. Pearson, Vincent Cortez and Chad Saxelid, capped by D’arcy Leland’s 55-minute chiller \u003cem>Andrea’s Fault\u003c/em>. Santa’s going to need something stronger than cookies and milk this year, and he’s not alone. \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a normal year—won’t it be sweet when we can retire that phrase from our lexicon?—our screens would be chock-a-block with glittery trailers for holiday movies. Our local festival programmers, meanwhile, would be on hiatus except for the year-end fundraising email, mulling next year’s events.\u003c/p>\n\u003cp>But everything’s upside down in our ongoing Bizarro World. The only major studio films of the season, \u003cem>Wonder Woman 1984\u003c/em> and \u003cem>Soul\u003c/em>, are delayed summer releases that will be viewed, overwhelmingly, on home streaming platforms (HBO Max and Disney+, respectively). Festival wizards, on the other hand, are plying us with rare December programs. And are we grateful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SF Jewish Film Festival 40th Anniversary Hanukkah Celebration\u003c/strong>\u003cbr>\nDec. 10–17\u003cbr>\n\u003ca href=\"https://jfi.org/jfi40\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The SFJFF canceled its annual big summer bash on account of the pandemic, and this eight-day program (to correspond to the Festival of Lights) is the second online mini-fest assembled by the venerable organization this year. The lineup includes several familiar names, including preeminent Israeli director Eytan Fox’s big-screen return to romantic drama, \u003cem>Sublet\u003c/em>. The remarkable Lynne Sachs continues her rewarding adventures in personal, poetic documentary with \u003cem>Film About a Father Who\u003c/em>. If you missed the crowd-pleasers \u003cem>Oliver Sacks: His Own Life\u003c/em> and \u003cem>When Hitler Stole Pink Rabbit\u003c/em> during their previous Bay Area presentations, you have another chance.\u003c/p>\n\u003cp>As for new voices, Yossi Atia’s slight slacker comedy \u003cem>Born in Jerusalem and Still Alive\u003c/em> expands on his short film of the same name. This debut feature accompanies underachieving 30-something tour guide Ronen (played by Atia) on his free daily walks to the sites of terrorist attacks of the 1990s and 2000s. The premise is subversive, if not taboo, but the movie doesn’t mine either its sociological or political implications. \u003cem>Born in Jerusalem and Still Alive\u003c/em> suffers more than any other movie in the festival by not being seen in a theater with a crowd, where the minor-key absurdism and deadpan jokes would build to, if not a cascade, at least a steady trickle. \u003c/p>\n\u003cfigure id=\"attachment_13890268\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/CIS_Padrenostro_thumb_1600x900-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Padrenostro.’ \u003ccite>(Courtesy of SIFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Cinema Italian Style 2020\u003c/strong>\u003cbr>\nDec. 10–17\u003cbr>\n\u003ca href=\"https://www.siff.net/year-round-cinema/film-festivals/cinema-italian-style#elevent\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a> \u003c/p>\n\u003cp>Since we can’t holiday abroad, the next best thing is a virtual trip to picturesque, cinematic Italy. Food, family, midlife messes, existential crises, criminal conflagrations—this survey of contemporary Italian film assembled by a host of organizations, including Luce Cinecittà and the Italian Cultural Institute of San Francisco, brims with life. \u003c/p>\n\u003cp>Highlights include Claudio Noce’s 1970s-set, semi-autobiographical \u003cem>Padrenostro\u003c/em>, a coming-of-age saga triggered by the near-murder of the lad’s father (Pierfrancesco Favino, Best Actor at the Venice Film Festival). \u003cem>Goddess of Fortune\u003c/em>, directed by the renowned Ferzan Ozpetek and featuring Jasmine Trinca’s Donatello Award-winning performance, imagines the suffering of a longtime couple on the rocks interrupted by an old friend and his boisterous kids. In the spirit of the season, Francesco Bruni’s saga of a filmmaker in a downward spiral, \u003cem>Everything’s Going to Be Alright\u003c/em>, kindles the hope and redemption promised by its title.\u003c/p>\n\u003cfigure id=\"attachment_13890269\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/andreas-fault.jpg\" alt=\"\" width=\"1374\" height=\"561\" class=\"size-full wp-image-13890269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-800x327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-1020x416.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/andreas-fault-768x314.jpg 768w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Andrea’s Fault.’ \u003ccite>(Courtesy SF Indiefest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Another Hole in the Head Film Festival\u003c/strong>\u003cbr>\nDec. 11–27\u003cbr>\n\u003ca href=\"https://www.ahith.com/filmfestival\" rel=\"noopener noreferrer\" target=\"_blank\">Online\u003c/a>\u003c/p>\n\u003cp>The SF Indiefest family’s annual compendium of horror, paranoia, fantasy and freakiness bills itself as the last film festival of 2020. In the dying days of the Year of the Plague, I take that as a declaration of defiance and a proclamation of persistence—confronting our fears and coming out the other side, and all that. Surely after the last four years, er, 10 months, no one craves being terrified for its own sake, do they?\u003c/p>\n\u003cp>I direct you to the handiwork of Bay Area filmmakers, led by \u003cem>Murder Bury Win\u003c/em>, Michael Lovan’s cunning and devious yarn about the unexpected need for the inventors of a board game—whose object is to get away with murder—to, um, evade attention in the wake of a fatal incident. Who among us hasn’t imagined him or herself in a similar predicament, at least in normal times when visiting family was a holiday ritual.\u003c/p>\n\u003cp>\u003cem>Local Shorts\u003c/em> serves up nine unsettling celluloid dream-states by talents such as Noel Rafizadeh-Kabe, Ingrid Jung, Dustin B. Pearson, Vincent Cortez and Chad Saxelid, capped by D’arcy Leland’s 55-minute chiller \u003cem>Andrea’s Fault\u003c/em>. Santa’s going to need something stronger than cookies and milk this year, and he’s not alone. \u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A cardinal sin too many biopics indulge in is checking off the beat-by-beat life excerpts, ignoring a specified vision for depicting their real-life protagonists in favor of broad strokes. \u003cem>Mank\u003c/em>, directed by David Fincher and based on a screenplay written by his late father Jack, is no such kind of biopic, thankfully. Inspired by Pauline Kael’s spicy (and since widely discredited) \u003cem>New Yorker \u003c/em>tome “\u003ca href=\"https://www.newyorker.com/magazine/1971/02/20/raising-kane-i\" target=\"_blank\" rel=\"noopener noreferrer\">Raising Kane\u003c/a>,” which argued Herman J. Mankiewicz deserved sole credit for the \u003cem>Citizen Kane \u003c/em>script, not Orson Welles, the film is as much about Hollywood’s immersion in politics as it is about a writer struggling to finish what would become known as his masterpiece.\u003c/p>\n\u003cp>“You cannot capture a man’s entire life in two hours, you can only hope to leave the impression of one,” pronounces Mankiewicz (Gary Oldman)—explaining his circuitous, complex approach to writing \u003cem>Kane\u003c/em>, but also, implicitly, Fincher’s approach to making \u003cem>Mank.\u003c/em>\u003c/p>\n\u003cp>Homages to \u003cem>Kane \u003c/em>abound. The story unfolds non-linearly: In 1940, as a bed-ridden Mank settles in to write the script from a rented ranch house, and in flashbacks to various points in his earlier career working within the Hollywood studio system. (In a nice writerly touch, screenplay slug lines like “Ext. Paramount Studios—Day—1930 (Flashback),” mark time jumps, useful to the viewer following along.) It’s also gorgeously rendered in black and white by cinematographer Erik Messerschmidt and colorist Eric Weidt while deploying visual techniques (such as deep focus) most heavily associated with \u003cem>Kane\u003c/em>.\u003c/p>\n\u003cp>As a movie about a movie—and one that has been propped up as the greatest of all time and included on every Film History 101 syllabus, no less—it could easily fall into the stale trap of navel-gazing and doe-eyed optimism about the magic and power of The Cinema™. On the former, it does stumble a bit, as I can imagine most viewers who aren’t cinephiles may have a hard time following the action of the first 45 minutes or so. (Many long-forgotten Hollywood stars and filmmakers of the 1930s are introduced or name-checked in scene after scene.)\u003c/p>\n\u003cp>But Fincher, whose creative eye tends to be drawn to the dark and macabre, manages to avoid putting Hollywood on too high of a pedestal, even as he clearly demonstrates his affection for it through his own painstaking techniques. While Mank’s prickly relationship with M-G-M executives Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley), told in flashbacks, has shades of the familiar art-vs.-commerce banter—”If you want a message, call Western Union,” Mayer grunts in one scene, evincing his entire approach to filmmaking—Fincher isn’t so interested in telling a story in which the “art” triumphs. Instead, amidst the clever aesthetic details, there’s sharp attention to deglamorization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aSfX-nrg-lI\u003c/p>\n\u003cp>Much of the plot concerns Mayer and Thalberg’s open support for the incumbent California governor Frank Merriam’s re-election campaign against journalist Upton Sinclair, alongside media mogul William Randolph Hearst (Charles Dance). Hearst, of course, is considered the thinly veiled inspiration for the power-hungry Charles Foster Kane, and Mank’s attendance at Hearst’s lavish dinner party salons, and their eventual falling out, serve as the creative spark he needs to write.\u003c/p>\n\u003cp>As Mank, Oldman is a crochety but witty alcoholic, who is generally respected but labeled by many to be difficult; the real-life Mankiewicz was \u003ca href=\"https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane\" target=\"_blank\" rel=\"noopener noreferrer\">notoriously disdainful\u003c/a> toward the art of moviemaking, in part because he believed its inherently collaborative nature diluted the input of everyone involved. This type of character could lend itself quite well to scenery chewing of the \u003ca href=\"https://www.npr.org/2017/11/23/565935388/darkest-hour-is-a-grand-ham-fisted-showpiece-for-gary-oldman-s-churchill\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Darkest Hour \u003c/em>variety\u003c/a>, but mercifully, Oldman is a touch more subtle here, playing disaffected handily. His best scenes are with Amanda Seyfried as the actress Marion Davies—Seyfried is outstanding here, infusing Hearst’s longtime mistress with pluck and self-awareness that allows her to carry on thoughtful conversations with Mank, the only person who seems to take her seriously.\u003c/p>\n\u003cp>While there is much to admire about this movie, I find it easier to appreciate than to love. Many of the scenes at the ranch encounter the problem that often arises when trying to depict the writing process—how to render what is so often an internal exercise in visual form? Unfortunately, they can’t help feeling inert at times, functioning as lay-up for the meat of the narrative arc told in flashbacks. And \u003cem>Mank\u003c/em> still can’t quite escape some trappings of the genre, like the exasperated but understanding wife of the tortured genius (Sara Mankiewicz, the thankless role played by Tuppence Middleton) or the frequent extolling of the tortured genius’s genius (some version of \u003cem>Kane \u003c/em>being the “best thing” Mank has ever written is repeated several times).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s a beautiful and bold exercise that amounts to more than what it might have been in lesser hands than Fincher’s. And if you care at all about movie history and the intersection of politics, or you just want to watch a filmmaker at the top of his craft, \u003cem>Mank \u003c/em>is a must-see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Mank%27+Is+A+Lushly+Rendered+Cinematic+Landscape&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A cardinal sin too many biopics indulge in is checking off the beat-by-beat life excerpts, ignoring a specified vision for depicting their real-life protagonists in favor of broad strokes. \u003cem>Mank\u003c/em>, directed by David Fincher and based on a screenplay written by his late father Jack, is no such kind of biopic, thankfully. Inspired by Pauline Kael’s spicy (and since widely discredited) \u003cem>New Yorker \u003c/em>tome “\u003ca href=\"https://www.newyorker.com/magazine/1971/02/20/raising-kane-i\" target=\"_blank\" rel=\"noopener noreferrer\">Raising Kane\u003c/a>,” which argued Herman J. Mankiewicz deserved sole credit for the \u003cem>Citizen Kane \u003c/em>script, not Orson Welles, the film is as much about Hollywood’s immersion in politics as it is about a writer struggling to finish what would become known as his masterpiece.\u003c/p>\n\u003cp>“You cannot capture a man’s entire life in two hours, you can only hope to leave the impression of one,” pronounces Mankiewicz (Gary Oldman)—explaining his circuitous, complex approach to writing \u003cem>Kane\u003c/em>, but also, implicitly, Fincher’s approach to making \u003cem>Mank.\u003c/em>\u003c/p>\n\u003cp>Homages to \u003cem>Kane \u003c/em>abound. The story unfolds non-linearly: In 1940, as a bed-ridden Mank settles in to write the script from a rented ranch house, and in flashbacks to various points in his earlier career working within the Hollywood studio system. (In a nice writerly touch, screenplay slug lines like “Ext. Paramount Studios—Day—1930 (Flashback),” mark time jumps, useful to the viewer following along.) It’s also gorgeously rendered in black and white by cinematographer Erik Messerschmidt and colorist Eric Weidt while deploying visual techniques (such as deep focus) most heavily associated with \u003cem>Kane\u003c/em>.\u003c/p>\n\u003cp>As a movie about a movie—and one that has been propped up as the greatest of all time and included on every Film History 101 syllabus, no less—it could easily fall into the stale trap of navel-gazing and doe-eyed optimism about the magic and power of The Cinema™. On the former, it does stumble a bit, as I can imagine most viewers who aren’t cinephiles may have a hard time following the action of the first 45 minutes or so. (Many long-forgotten Hollywood stars and filmmakers of the 1930s are introduced or name-checked in scene after scene.)\u003c/p>\n\u003cp>But Fincher, whose creative eye tends to be drawn to the dark and macabre, manages to avoid putting Hollywood on too high of a pedestal, even as he clearly demonstrates his affection for it through his own painstaking techniques. While Mank’s prickly relationship with M-G-M executives Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley), told in flashbacks, has shades of the familiar art-vs.-commerce banter—”If you want a message, call Western Union,” Mayer grunts in one scene, evincing his entire approach to filmmaking—Fincher isn’t so interested in telling a story in which the “art” triumphs. Instead, amidst the clever aesthetic details, there’s sharp attention to deglamorization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aSfX-nrg-lI'\n title='//www.youtube.com/embed/aSfX-nrg-lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much of the plot concerns Mayer and Thalberg’s open support for the incumbent California governor Frank Merriam’s re-election campaign against journalist Upton Sinclair, alongside media mogul William Randolph Hearst (Charles Dance). Hearst, of course, is considered the thinly veiled inspiration for the power-hungry Charles Foster Kane, and Mank’s attendance at Hearst’s lavish dinner party salons, and their eventual falling out, serve as the creative spark he needs to write.\u003c/p>\n\u003cp>As Mank, Oldman is a crochety but witty alcoholic, who is generally respected but labeled by many to be difficult; the real-life Mankiewicz was \u003ca href=\"https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane\" target=\"_blank\" rel=\"noopener noreferrer\">notoriously disdainful\u003c/a> toward the art of moviemaking, in part because he believed its inherently collaborative nature diluted the input of everyone involved. This type of character could lend itself quite well to scenery chewing of the \u003ca href=\"https://www.npr.org/2017/11/23/565935388/darkest-hour-is-a-grand-ham-fisted-showpiece-for-gary-oldman-s-churchill\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Darkest Hour \u003c/em>variety\u003c/a>, but mercifully, Oldman is a touch more subtle here, playing disaffected handily. His best scenes are with Amanda Seyfried as the actress Marion Davies—Seyfried is outstanding here, infusing Hearst’s longtime mistress with pluck and self-awareness that allows her to carry on thoughtful conversations with Mank, the only person who seems to take her seriously.\u003c/p>\n\u003cp>While there is much to admire about this movie, I find it easier to appreciate than to love. Many of the scenes at the ranch encounter the problem that often arises when trying to depict the writing process—how to render what is so often an internal exercise in visual form? Unfortunately, they can’t help feeling inert at times, functioning as lay-up for the meat of the narrative arc told in flashbacks. And \u003cem>Mank\u003c/em> still can’t quite escape some trappings of the genre, like the exasperated but understanding wife of the tortured genius (Sara Mankiewicz, the thankless role played by Tuppence Middleton) or the frequent extolling of the tortured genius’s genius (some version of \u003cem>Kane \u003c/em>being the “best thing” Mank has ever written is repeated several times).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s a beautiful and bold exercise that amounts to more than what it might have been in lesser hands than Fincher’s. And if you care at all about movie history and the intersection of politics, or you just want to watch a filmmaker at the top of his craft, \u003cem>Mank \u003c/em>is a must-see.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Mank%27+Is+A+Lushly+Rendered+Cinematic+Landscape&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"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",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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