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"content": "\u003cp>The thing I remember most about the last time I went to a movie theater before they all shut down in mid-March was the sense of impending doom. \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxie\u003c/a> in San Francisco’s Mission District was almost empty — only two other people were present at the Thursday evening screening of the John Turturro vehicle \u003cem>The Jesus Rolls\u003c/em> — and the staff looked worried and depressed.\u003c/p>\n\u003cp>“Everything’s super subject to change right now,” said box office manager Russell Hartling, handing me my ticket and a sanitizing wipe. “It’s been really hard.”\u003c/p>\n\u003cp>After months of missing the big screen experience and making do with services like Netflix, HBO and Amazon Prime on a small, tinny-sounding TV in my bedroom at home, it was nothing short of thrilling, last weekend, to plop down in a plush seat in front of a Hollywood blockbuster (Christopher Nolan’s sci-fi action movie \u003cem>Tenet\u003c/em>) with a bag of popcorn once again.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Theater in Napa\u003c/a> is one of few Bay Area cinemas that have been back in business over the past two weeks since California Governor Gavin Newsom announced a new “\u003ca href=\"https://covid19.ca.gov/safer-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">tier system\u003c/a>” for reopening indoor activities and businesses, depending on counties hitting and sustaining prescribed targets for COVID-19 cases.\u003c/p>\n\u003cp>Walking into the brightly lit lobby of the Century felt just like old times — except for a few health and safety-related details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The soda fountains and condiment stations sat empty. Everyone wore masks. Signs on the floor reminded people to stand six feet apart, and posters on the walls outlined the theater’s new “\u003ca href=\"https://www.cinemasafe.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemasafe\u003c/a>” health and safety guidelines.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/0hMh1sN2O_8\">https://youtu.be/0hMh1sN2O_8\u003c/a>\u003c/p>\n\u003cp>In the auditorium, my nearest neighbors sat at least three seats away from me on all sides, in accordance with state guidelines allowing theaters in counties with low enough COVID-19 rates to reopen at 25% capacity or 100 people, whichever is less.\u003c/p>\n\u003cp>“Our I.T. folks created a seat-buffering technology within our ticketing system that allows us to block seats adjacent to a party once they’ve purchased their tickets,” said Mike Wegner, who oversees operations for 20 California movie theaters owned by the \u003ca href=\"https://www.cinemark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemark\u003c/a> group, including the one I visited in Napa. “We’ve staggered showtimes to further ensure physical distancing.”\u003c/p>\n\u003cp>Napa is currently one of four Bay Area counties, along with San Francisco, Santa Clara and Marin, where state officials have allowed indoor movie theaters to reopen at reduced capacity.\u003c/p>\n\u003cp>“Napa County has been operating in accordance with state guidelines since the onset of the pandemic,” said Napa County public information officer Janet Upton of her region’s decision to run with the state’s mandate. “We are a small, rural county with barely 140,000 residents, so we continued to follow the state’s mandates and guidance as we have all along.”\u003c/p>\n\u003cp>But even though the state says they can, some local health authorities aren’t prepared to reopen their movie theaters just yet.\u003c/p>\n\u003cp>At a recent public meeting, \u003ca href=\"https://www.sccgov.org/sites/cco/overview/Pages/williams-bio.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County counsel James R. Williams\u003c/a> said cinemas still pose a risk because they’re indoors, and physical distancing and strict mask-wearing are harder to enforce.\u003c/p>\n\u003cfigure id=\"attachment_13886445\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters outlining the new health and safety protocols outside the Century theater in Napa. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are three areas that may not open under the county risk reduction order. That is: indoor dining, indoor gatherings and indoor movie theaters,” Williams said. “It’s all the more important that we remain really vigilant and on top of trying to keep the case counts here locally as low as possible.”\u003c/p>\n\u003cp>Some movie industry insiders are frustrated with the delay.\u003c/p>\n\u003cp>“We understand that by opening those theater doors, we are assuming a big responsibility,” said Milt Moritz, regional (California/Nevada) president and CEO of the \u003ca href=\"http://www.natocalnev.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Association of Theater Owners\u003c/a>, a trade organization which represents more than 90 percent of screens in California. “We hope to be able to persuade the different health departments that, you know, they should have more of an open mind.”\u003c/p>\n\u003cp>In San Francisco, where big screens remain off-limits for now, Roxie Theater executive director Lex Sloan said the mixed messages are confusing to audiences.\u003c/p>\n\u003cp>“A lot of people are saying, ‘When are you going to reopen?’ And I’m saying, ‘Well, even though Governor Newsom said we could open, that doesn’t mean Mayor London Breed has said that we can.'”\u003c/p>\n\u003cp>In some other regions of the country, movie theaters have been steadily reopening since June. Despite the reopening of outdoor screens here in the Bay Area, like the \u003ca href=\"https://www.kqed.org/arts/13879772/hooray-you-can-go-to-the-movies-again-at-a-drive-in-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Westwind Capitol Drive-In in San Jose\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13883486/a-new-pop-up-drive-in-theater-just-over-the-hill-from-indiana-jones-house\" target=\"_blank\" rel=\"noopener noreferrer\">Lark pop-up in Corte Madera\u003c/a>, the extended closure of indoor cinemas has taken a huge toll on the local moviegoing landscape. Some theaters have closed for good, like the Corte Madera Cinemark and the Raven Theater in Healdsburg—permanent casualties of the COVID-19 shutdown.\u003c/p>\n\u003cp>Meanwhile, theaters across the Bay have had to get creative to keep going. After burning through government funding and loans, \u003ca href=\"https://www.rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas\u003c/a> in Sebastopol launched a \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising campaign\u003c/a> to shore up its dwindling cash reservoir. At the time of writing, the independent theater was just $900 short of meeting its $75,000 goal.\u003c/p>\n\u003cp>“Thursday will mark our seventh month of consecutive closure which is more than we could have ever imagined,” said theater owner Ky Boyd. “We’ve done everything we can to stay afloat. It’s very scary because we have no rent relief. We need support from our government and our community.”\u003c/p>\n\u003cp>As for the Roxie, Sloan said the past six months have been extremely tough, since around 80 percent of the theater’s income stems from ticket sales and theater rentals. She has been forced to lay off many employees, and the cinema has relied on selling tickets to virtual programs for its survival.\u003c/p>\n\u003cp>Yet Sloan said she welcomes San Francisco’s cautious approach to reopening.\u003c/p>\n\u003cp>When the Roxie does eventually open its doors again for business, Sloan said, it’ll likely be only for private rentals at first. Beyond that, she plans to send out a survey to find out what movie audiences want to see when they can finally come back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“As a community-driven nonprofit cinema, the community is our top priority,” Sloan said. “The safety and health of our staff and patrons mean more to us than reopening quickly.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing I remember most about the last time I went to a movie theater before they all shut down in mid-March was the sense of impending doom. \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roxie\u003c/a> in San Francisco’s Mission District was almost empty — only two other people were present at the Thursday evening screening of the John Turturro vehicle \u003cem>The Jesus Rolls\u003c/em> — and the staff looked worried and depressed.\u003c/p>\n\u003cp>“Everything’s super subject to change right now,” said box office manager Russell Hartling, handing me my ticket and a sanitizing wipe. “It’s been really hard.”\u003c/p>\n\u003cp>After months of missing the big screen experience and making do with services like Netflix, HBO and Amazon Prime on a small, tinny-sounding TV in my bedroom at home, it was nothing short of thrilling, last weekend, to plop down in a plush seat in front of a Hollywood blockbuster (Christopher Nolan’s sci-fi action movie \u003cem>Tenet\u003c/em>) with a bag of popcorn once again.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Theater in Napa\u003c/a> is one of few Bay Area cinemas that have been back in business over the past two weeks since California Governor Gavin Newsom announced a new “\u003ca href=\"https://covid19.ca.gov/safer-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">tier system\u003c/a>” for reopening indoor activities and businesses, depending on counties hitting and sustaining prescribed targets for COVID-19 cases.\u003c/p>\n\u003cp>Walking into the brightly lit lobby of the Century felt just like old times — except for a few health and safety-related details.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The soda fountains and condiment stations sat empty. Everyone wore masks. Signs on the floor reminded people to stand six feet apart, and posters on the walls outlined the theater’s new “\u003ca href=\"https://www.cinemasafe.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemasafe\u003c/a>” health and safety guidelines.\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/0hMh1sN2O_8\">https://youtu.be/0hMh1sN2O_8\u003c/a>\u003c/p>\n\u003cp>In the auditorium, my nearest neighbors sat at least three seats away from me on all sides, in accordance with state guidelines allowing theaters in counties with low enough COVID-19 rates to reopen at 25% capacity or 100 people, whichever is less.\u003c/p>\n\u003cp>“Our I.T. folks created a seat-buffering technology within our ticketing system that allows us to block seats adjacent to a party once they’ve purchased their tickets,” said Mike Wegner, who oversees operations for 20 California movie theaters owned by the \u003ca href=\"https://www.cinemark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinemark\u003c/a> group, including the one I visited in Napa. “We’ve staggered showtimes to further ensure physical distancing.”\u003c/p>\n\u003cp>Napa is currently one of four Bay Area counties, along with San Francisco, Santa Clara and Marin, where state officials have allowed indoor movie theaters to reopen at reduced capacity.\u003c/p>\n\u003cp>“Napa County has been operating in accordance with state guidelines since the onset of the pandemic,” said Napa County public information officer Janet Upton of her region’s decision to run with the state’s mandate. “We are a small, rural county with barely 140,000 residents, so we continued to follow the state’s mandates and guidance as we have all along.”\u003c/p>\n\u003cp>But even though the state says they can, some local health authorities aren’t prepared to reopen their movie theaters just yet.\u003c/p>\n\u003cp>At a recent public meeting, \u003ca href=\"https://www.sccgov.org/sites/cco/overview/Pages/williams-bio.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County counsel James R. Williams\u003c/a> said cinemas still pose a risk because they’re indoors, and physical distancing and strict mask-wearing are harder to enforce.\u003c/p>\n\u003cfigure id=\"attachment_13886445\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/posters-outside-the-napa-theater-showing-safety-protocols-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters outlining the new health and safety protocols outside the Century theater in Napa. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are three areas that may not open under the county risk reduction order. That is: indoor dining, indoor gatherings and indoor movie theaters,” Williams said. “It’s all the more important that we remain really vigilant and on top of trying to keep the case counts here locally as low as possible.”\u003c/p>\n\u003cp>Some movie industry insiders are frustrated with the delay.\u003c/p>\n\u003cp>“We understand that by opening those theater doors, we are assuming a big responsibility,” said Milt Moritz, regional (California/Nevada) president and CEO of the \u003ca href=\"http://www.natocalnev.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Association of Theater Owners\u003c/a>, a trade organization which represents more than 90 percent of screens in California. “We hope to be able to persuade the different health departments that, you know, they should have more of an open mind.”\u003c/p>\n\u003cp>In San Francisco, where big screens remain off-limits for now, Roxie Theater executive director Lex Sloan said the mixed messages are confusing to audiences.\u003c/p>\n\u003cp>“A lot of people are saying, ‘When are you going to reopen?’ And I’m saying, ‘Well, even though Governor Newsom said we could open, that doesn’t mean Mayor London Breed has said that we can.'”\u003c/p>\n\u003cp>In some other regions of the country, movie theaters have been steadily reopening since June. Despite the reopening of outdoor screens here in the Bay Area, like the \u003ca href=\"https://www.kqed.org/arts/13879772/hooray-you-can-go-to-the-movies-again-at-a-drive-in-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Westwind Capitol Drive-In in San Jose\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13883486/a-new-pop-up-drive-in-theater-just-over-the-hill-from-indiana-jones-house\" target=\"_blank\" rel=\"noopener noreferrer\">Lark pop-up in Corte Madera\u003c/a>, the extended closure of indoor cinemas has taken a huge toll on the local moviegoing landscape. Some theaters have closed for good, like the Corte Madera Cinemark and the Raven Theater in Healdsburg—permanent casualties of the COVID-19 shutdown.\u003c/p>\n\u003cp>Meanwhile, theaters across the Bay have had to get creative to keep going. After burning through government funding and loans, \u003ca href=\"https://www.rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas\u003c/a> in Sebastopol launched a \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising campaign\u003c/a> to shore up its dwindling cash reservoir. At the time of writing, the independent theater was just $900 short of meeting its $75,000 goal.\u003c/p>\n\u003cp>“Thursday will mark our seventh month of consecutive closure which is more than we could have ever imagined,” said theater owner Ky Boyd. “We’ve done everything we can to stay afloat. It’s very scary because we have no rent relief. We need support from our government and our community.”\u003c/p>\n\u003cp>As for the Roxie, Sloan said the past six months have been extremely tough, since around 80 percent of the theater’s income stems from ticket sales and theater rentals. She has been forced to lay off many employees, and the cinema has relied on selling tickets to virtual programs for its survival.\u003c/p>\n\u003cp>Yet Sloan said she welcomes San Francisco’s cautious approach to reopening.\u003c/p>\n\u003cp>When the Roxie does eventually open its doors again for business, Sloan said, it’ll likely be only for private rentals at first. Beyond that, she plans to send out a survey to find out what movie audiences want to see when they can finally come back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "If Paris Hilton's Sex Tape Came Out Now, Would We Treat Her Like We Treat Chris Evans?",
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"content": "\u003cp>This past Monday, the new Paris Hilton documentary \u003ca href=\"https://www.youtube.com/watch?v=wOg0TY1jG3w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Paris\u003c/em>\u003c/a> premiered on YouTube. Exploring her coddled childhood, her turbulent teens and beyond, \u003cem>This is Paris\u003c/em> offers a revealing look at the difference between Hilton’s real personality (complete with intense anxiety and chronic insomnia) and the ditzy celebrity persona she created to protect herself.\u003c/p>\n\u003cp>Some of the more harrowing moments in the film come when Hilton discusses the 2004 leak of her now-infamous sex tape. “That was a private moment with a teenage girl not in her right headspace,” Hilton tearfully reflects. “But everyone was watching it and laughing like it’s something funny… They made me the bad person.”\u003c/p>\n\u003cp>The home video was recorded in 2001 when Hilton was 19, and leaked by ex-boyfriend Rick Salomon in 2004, after Hilton found success with the first season of \u003cem>The Simple Life\u003c/em>. The public reaction to the tape at the time swung between mockery and disdain: \u003cem>This is Paris\u003c/em> includes a clip of David Letterman making jokes at her expense before a howling studio audience. (Let’s not forget that even Pink, an outspoken feminist, made fun of Hilton’s sex tape in the video for “\u003ca href=\"https://www.youtube.com/watch?v=BR4yQFZK9YM\" target=\"_blank\" rel=\"noopener noreferrer\">Stupid Girls\u003c/a>” in 2006.)\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton describes Salomon pressuring her to allow him to film her, and compares her experience to “being electronically raped.”\u003c/p>\n\u003cp>The details of Hilton’s humiliation were especially jarring to revisit on Monday, after a weekend in which \u003cem>Captain America\u003c/em>‘s Chris Evans received an outpouring of sympathy for accidentally posting an explicit picture of himself to Instagram. When screenshots of his photo started circulating on social media, fans and supporters quickly buried them under a sea of wholesome photos of the actor with his dog, messages of support, and tales about his kindness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/kiramvor/status/1305250163368366084\u003c/p>\n\u003cp>https://twitter.com/Skias2/status/1305205102249041920\u003c/p>\n\u003cp>https://twitter.com/BellaDameNoir/status/1305205393384038400\u003c/p>\n\u003cp>Evans escaped largely unscathed, even joking about it on Twitter the next day.\u003c/p>\n\u003cp>https://twitter.com/ChrisEvans/status/1305681183129436161\u003c/p>\n\u003cp>Even before Hilton’s documentary came out, a great number of women pointed out how female celebrities in Evans’ position are treated.\u003c/p>\n\u003cp>https://twitter.com/goodnightjdb/status/1305031389922947072\u003c/p>\n\u003cp>https://twitter.com/moniza_hossain/status/1305016160501391360\u003c/p>\n\u003cp>https://twitter.com/TudorChick1501/status/1305213719127961603\u003c/p>\n\u003cp>The double standards were impossible not to notice. A full decade after Hilton’s humiliation, actresses including Jennifer Lawrence, Emma Watson and Kirsten Dunst were shamed and blamed en masse after their intimate photos were made public by the \u003ca href=\"https://en.wikipedia.org/wiki/ICloud_leaks_of_celebrity_photos\" target=\"_blank\" rel=\"noopener noreferrer\">4Chan leak\u003c/a>. While vocal objections followed from feminist writers and media, the air around the whole thing smacked of both victim blaming and bringing successful women down a peg or two. (“It was all pain and no gain,” Lawrence later told \u003cem>Vogue\u003c/em>.)\u003c/p>\n\u003cp>https://twitter.com/EmmaWatson/status/506531006380527617\u003c/p>\n\u003cp>The fact that five of the hackers involved in the 4Chan leak were later sentenced to prison time (for periods ranging between eight and 34 months) has not acted as a major deterrent to others. In 2017, another hack took place, this time revealing intimate images of celebrities including Miley Cyrus, Kristen Stewart, Lindsey Vonn and Tiger Woods. (Woods was not shown any more mercy than the women—full frontal nudes of him are still circulating.)\u003c/p>\n\u003cp>There is evidence that the sympathetic treatment of Evans was not entirely about his gender, though. Last October, when Demi Lovato had explicit photos stolen and leaked online, supporters rushed to her defense in much the same way that Evans’ did over the weekend. Within hours of Lovato’s hacked Snapchat account directing users to a Discord server of her private photos, fans had buried them on social media. As with Evans, it was done with positivity and support.\u003c/p>\n\u003cp>https://twitter.com/rosesavocado/status/1185015077159755777\u003c/p>\n\u003cp>https://twitter.com/winterdaylov/status/1184989259981189120\u003c/p>\n\u003cp>https://twitter.com/aiidaannn/status/1184972196457918464\u003c/p>\n\u003cp>The fan outpouring also prompted swift action from Discord. The day after the leak, the gamer app released a statement that read: “We have a zero-tolerance approach to illegal activity on our platform and take immediate action when we become aware of it. We moved quickly yesterday to disable the link and stop access to the server as soon as we became aware of it.”\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton expresses the belief that if her sex tape were leaked now, she would be treated much more kindly than she was in 2004. “If that happened today,” she says in the documentary, “it would not be the same story at all.”\u003c/p>\n\u003cp>But that isn’t necessarily true.\u003c/p>\n\u003cp>Neither Evans nor Lovato was saved because our culture is nicer to violated celebrities than it was in 2004. They were saved because they’ve already given so much of themselves to the public. Evans has been consistently open about his own struggles with \u003ca href=\"https://www.menshealth.com/uk/mental-strength/a758320/watch-why-chris-evans-still-gets-anxiety-about-captain-america/\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety and depression\u003c/a>. And you’d be hard pushed to find another celebrity who’s been as transparent as Lovato when it comes to issues around addiction and mental health. (She also \u003ca href=\"https://www.cnn.com/2018/08/01/entertainment/demi-lovato-overdose/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">overdosed\u003c/a> the year before her leak, which means public sympathy for her was heightened.)\u003c/p>\n\u003cp>In contrast—as \u003cem>This is Paris\u003c/em> so effectively demonstrates—Hilton has spent most of her career actively caricaturing herself as a means to keep the most vulnerable parts of herself private. And the public definitely doesn’t care for that so much.\u003c/p>\n\u003cp>The big hacks of 2014 and 2017 went out of their way to humiliate successful, unattainable women. The fact that queer feminists Kristen Stewart and Miley Cyrus were targeted simultaneously is a demonstration of exactly what happens to those who don’t pander to the public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no reason why dehumanizing famous people (especially female ones) should continue to be the standard. Neither should we go on assuming that celebrity personas invalidate the real people underneath. What the public response to both Evans’ and Lovato’s leaks demonstrates is that we as a culture are more than capable of taking the high road when we want to. That shouldn’t be contingent on them baring their souls to us first.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past Monday, the new Paris Hilton documentary \u003ca href=\"https://www.youtube.com/watch?v=wOg0TY1jG3w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This is Paris\u003c/em>\u003c/a> premiered on YouTube. Exploring her coddled childhood, her turbulent teens and beyond, \u003cem>This is Paris\u003c/em> offers a revealing look at the difference between Hilton’s real personality (complete with intense anxiety and chronic insomnia) and the ditzy celebrity persona she created to protect herself.\u003c/p>\n\u003cp>Some of the more harrowing moments in the film come when Hilton discusses the 2004 leak of her now-infamous sex tape. “That was a private moment with a teenage girl not in her right headspace,” Hilton tearfully reflects. “But everyone was watching it and laughing like it’s something funny… They made me the bad person.”\u003c/p>\n\u003cp>The home video was recorded in 2001 when Hilton was 19, and leaked by ex-boyfriend Rick Salomon in 2004, after Hilton found success with the first season of \u003cem>The Simple Life\u003c/em>. The public reaction to the tape at the time swung between mockery and disdain: \u003cem>This is Paris\u003c/em> includes a clip of David Letterman making jokes at her expense before a howling studio audience. (Let’s not forget that even Pink, an outspoken feminist, made fun of Hilton’s sex tape in the video for “\u003ca href=\"https://www.youtube.com/watch?v=BR4yQFZK9YM\" target=\"_blank\" rel=\"noopener noreferrer\">Stupid Girls\u003c/a>” in 2006.)\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton describes Salomon pressuring her to allow him to film her, and compares her experience to “being electronically raped.”\u003c/p>\n\u003cp>The details of Hilton’s humiliation were especially jarring to revisit on Monday, after a weekend in which \u003cem>Captain America\u003c/em>‘s Chris Evans received an outpouring of sympathy for accidentally posting an explicit picture of himself to Instagram. When screenshots of his photo started circulating on social media, fans and supporters quickly buried them under a sea of wholesome photos of the actor with his dog, messages of support, and tales about his kindness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The double standards were impossible not to notice. A full decade after Hilton’s humiliation, actresses including Jennifer Lawrence, Emma Watson and Kirsten Dunst were shamed and blamed en masse after their intimate photos were made public by the \u003ca href=\"https://en.wikipedia.org/wiki/ICloud_leaks_of_celebrity_photos\" target=\"_blank\" rel=\"noopener noreferrer\">4Chan leak\u003c/a>. While vocal objections followed from feminist writers and media, the air around the whole thing smacked of both victim blaming and bringing successful women down a peg or two. (“It was all pain and no gain,” Lawrence later told \u003cem>Vogue\u003c/em>.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fact that five of the hackers involved in the 4Chan leak were later sentenced to prison time (for periods ranging between eight and 34 months) has not acted as a major deterrent to others. In 2017, another hack took place, this time revealing intimate images of celebrities including Miley Cyrus, Kristen Stewart, Lindsey Vonn and Tiger Woods. (Woods was not shown any more mercy than the women—full frontal nudes of him are still circulating.)\u003c/p>\n\u003cp>There is evidence that the sympathetic treatment of Evans was not entirely about his gender, though. Last October, when Demi Lovato had explicit photos stolen and leaked online, supporters rushed to her defense in much the same way that Evans’ did over the weekend. Within hours of Lovato’s hacked Snapchat account directing users to a Discord server of her private photos, fans had buried them on social media. As with Evans, it was done with positivity and support.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The fan outpouring also prompted swift action from Discord. The day after the leak, the gamer app released a statement that read: “We have a zero-tolerance approach to illegal activity on our platform and take immediate action when we become aware of it. We moved quickly yesterday to disable the link and stop access to the server as soon as we became aware of it.”\u003c/p>\n\u003cp>In \u003cem>This is Paris\u003c/em>, Hilton expresses the belief that if her sex tape were leaked now, she would be treated much more kindly than she was in 2004. “If that happened today,” she says in the documentary, “it would not be the same story at all.”\u003c/p>\n\u003cp>But that isn’t necessarily true.\u003c/p>\n\u003cp>Neither Evans nor Lovato was saved because our culture is nicer to violated celebrities than it was in 2004. They were saved because they’ve already given so much of themselves to the public. Evans has been consistently open about his own struggles with \u003ca href=\"https://www.menshealth.com/uk/mental-strength/a758320/watch-why-chris-evans-still-gets-anxiety-about-captain-america/\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety and depression\u003c/a>. And you’d be hard pushed to find another celebrity who’s been as transparent as Lovato when it comes to issues around addiction and mental health. (She also \u003ca href=\"https://www.cnn.com/2018/08/01/entertainment/demi-lovato-overdose/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">overdosed\u003c/a> the year before her leak, which means public sympathy for her was heightened.)\u003c/p>\n\u003cp>In contrast—as \u003cem>This is Paris\u003c/em> so effectively demonstrates—Hilton has spent most of her career actively caricaturing herself as a means to keep the most vulnerable parts of herself private. And the public definitely doesn’t care for that so much.\u003c/p>\n\u003cp>The big hacks of 2014 and 2017 went out of their way to humiliate successful, unattainable women. The fact that queer feminists Kristen Stewart and Miley Cyrus were targeted simultaneously is a demonstration of exactly what happens to those who don’t pander to the public.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is no reason why dehumanizing famous people (especially female ones) should continue to be the standard. Neither should we go on assuming that celebrity personas invalidate the real people underneath. What the public response to both Evans’ and Lovato’s leaks demonstrates is that we as a culture are more than capable of taking the high road when we want to. That shouldn’t be contingent on them baring their souls to us first.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \u003c/p>\n\u003cp>https://youtu.be/1lJRPZLuY9c\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\u003c/p>\n\u003cp>https://youtu.be/7MPib67BDHY\u003c/p>\n\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The vast majority of film festivals, especially in the Bay Area, aren’t simply cultural events or entertainment options. They are community gatherings. Online iterations necessitated by the pandemic try to replicate that feeling. (The new tradition of the opening night drive-in screening is a way of creating a live experience by placing \u003cem>some\u003c/em> people in safe proximity.)\u003c/p>\n\u003cp>But online fests are better than nothing, no doubt. They do require, however, a little more effort—focusing our full attention during streamed home screenings, attending post-film Zoom Q&As with the filmmakers—than passively sitting in a packed theater. Test the waters, join the fray, catch a flick at the Oakland International Film Festival and Frameline (a.k.a. the San Francisco International LGBTQ+ Film Festival), both launching their respective 10-day bashes Sept. 17. \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/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"https://www.oiff.org\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland International Film Festival\u003c/a>\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>David Roach searches far and wide to populate the OIFF with a chorus of voices that speak to Oakland’s challenges, history, multiculturalism and vitality. The lineup of 65-plus shorts and features corresponds to the metropolis’s wide-ranging and ever-evolving character.\u003c/p>\n\u003cp>The opening night film, \u003cem>We Are the Dream: The Kids of the Oakland MLK Oratorical Fest\u003c/em>, gives us a front-row introduction to the best and brightest speechmakers, poets and public speakers among Oaktown’s children. (The competition is open to pre-kindergarten through 12th grade.) The participants include a Sri Lankan boy who lectures us on Dr. King’s contributions, a tiny Black girl practicing her poem on a picnic table for her dad, and a 9-year-old preacher’s grandson who delivers a powerhouse rendition of the “I’ve Been to the Mountaintop” speech. You won’t be able to limit yourself to just one favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland writer-director-actor Pharoah Charles Powell’s latest made-on-a-shoestring feature, \u003cem>All the Love\u003c/em>, centers on a young woman forced to confront the truth about her father, and her own identity. Powell will discuss his film at 10:25pm on Sept. 24 following its screening.\u003c/p>\n\u003cp>Another local filmmaker, Spencer Wilkinson (\u003cem>One Voice: The Story of the Oakland Interfaith Gospel Choir\u003c/em>), returns with his second quintessential hometown documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Street\u003c/a>\u003c/em>. Wilkinson originally set out to document the conception and execution of a mural near his house. But nothing is simple, or static, in America’s cities, and the public art becomes the catalyst for a saga of gentrification and empowerment.\u003c/p>\n\u003cp>\u003cb>Frameline44\u003c/b>\u003cbr>\nSept. 17–27\u003cbr>\nOnline\u003c/p>\n\u003cp>Check back later this week for an overview of the 44th San Francisco International LGBTQ+ Film Festival, rescheduled and reshaped from its usual omnibus in June. But drop everything right this instant and reserve a ticket to \u003cem>Shit & Champagne\u003c/em>, the world premiere of S.F. writer-director-star D’Arcy Drollinger’s delicious drag parody of 1970s sexploitation movies at the West Wind Solano Drive-in in Concord on opening night.\u003c/p>\n\u003cfigure id=\"attachment_13886380\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg\" alt=\"\" width=\"1200\" height=\"861\" class=\"size-full wp-image-13886380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Collaboration_Irmi_005-2_1200-768x551.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Irmi,’ 2020. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Irmi\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/irmi\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003cbr>\nNow streaming\u003c/p>\n\u003cp>Ace editor and occasional director Veronica Selver has been a crucial component of the Bay Area’s world-class independent documentary community since the mid-’70s, when she partnered with Peter Adair, Lucy Massie Phenix, Rob Epstein and a couple other gutsy visionaries on the breakthrough gay and lesbian oral history \u003cem>Word Is Out\u003c/em>. If anyone can avoid the pitfalls (with panache) of the family documentary, that most perilous of nonfiction films, it’s Selver.\u003c/p>\n\u003cp>Fifteen years after her mother’s death at 97, Selver and co-director Susan Fanshel recount Irmi Selver’s roller-coaster ride through the 20th century with affection, wit and an appreciation for the unknowable mystery that is at the heart of every person. Using her late-in-life memoir (read by Hanna Schygulla) as a guide, \u003cem>Irmi\u003c/em> traces its protagonist’s affluent childhood in pre- and post-World War I Germany to—and far beyond—the tragedy that struck her young family in 1939 on a refugee ship in the North Sea.\u003c/p>\n\u003cp>Resolutely life-affirming and unexpectedly universal, \u003cem>Irmi\u003c/em> is streaming through BAMPFA, along with a recorded conversation among the filmmakers and esteemed film composer Todd Boekelheide, following its July debut in the Jewish Film Festival’s Cinegogue Summer Days.\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/7MPib67BDHY'\n title='//www.youtube.com/embed/7MPib67BDHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Antebellum\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 18\u003cbr>\n\u003ca href=\"https://www.lionsgate.com/movies/antebellum\" rel=\"noopener noreferrer\" target=\"_blank\">Premium video on demand\u003c/a>\u003c/p>\n\u003cp>Janelle Monáe can do it all, and co-writers and directors Gerard Bush and Christopher Renz invite her to handle just about everything but singing in \u003cem>Antebellum\u003c/em>. In a double role that spans then and now, slavery and independence, Monáe exudes dignity and inner strength throughout, and fashion-mag style and action-heroine grit in the film’s middle and later sections.\u003c/p>\n\u003cp>Her performance, by turns glowering and glamorous, is undercut by a screenplay whose pieces don’t completely click into lucid, satisfying place. Set on a plantation in Civil War-era Louisiana, \u003cem>Antebellum\u003c/em> is a walking nightmare dreamed at golden hour, when the sun gleams languidly through the trees as if to mock the horrors that we know await in just a few hours.\u003c/p>\n\u003cp>The filmmakers display great care in avoiding the torture-porn clichés of slavery without eliding the cavalier cruelty or soul-crushing hopelessness. Then, late one night, the anachronistic ring of a cellphone jolts us and the movie into the present-day life of Dr. Veronica Henley (also played by Monáe), an in-demand intellectual and the author of \u003cem>Shedding the Coping Persona\u003c/em>. While she revels with friends at a conference in New Orleans, Bush and Renz disturbingly portray how casual and overt racism are precisely meant to dent and demean successful Black people. \u003c/p>\n\u003cp>Our journey with Monae’s dual characters from literal to paranoid to fantastical pays off with a reasonably satisfying cascade of payback. \u003cem>Antebellum\u003c/em>’s clever structure works to demonstrate in a visceral way how whites have smuggled, in broad daylight, 19th-century racism all the way into today. It’s not, shall we say, a pretty picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82",
"headTitle": "‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82 | KQED",
"content": "\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"description": "Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series The Avengers to fantasy juggernaut Game of Thrones, has died. She was 82. Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March. Rigg",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Dystopian Movies Are Getting Us Through 2020",
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"content": "\u003cp>References to Mars, hell and the apocalypse have all dominated Bay Area Twitter this week, as darkened skies and falling ash from wildfires cast a pall across the entire region. It didn’t take long for the jarring conditions to inspire some social media users to compare our red horizon to those from the big screen.\u003c/p>\n\u003cp>Like in \u003cem>Blade Runner 2049\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/MidShelfRyan/status/1303815520802791425\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/chrisavila_01/status/1303761170675970049\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/gabennett45/status/1303823879282933760\u003c/p>\n\u003cp>\u003cem>Lord of the Rings\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/B_W3T/status/1303781721519861765\u003c/p>\n\u003cp>And even \u003cem>Night of the Comet\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/leeleemar33/status/1303788492170952705\u003c/p>\n\u003cp>You may also have noticed friends and loved ones \u003cem>watching\u003c/em> these movies—turning to the more dystopian of them for escape. It’s a response that echoes the surge in people watching \u003cem>Contagion\u003c/em> at the start of this year’s coronavirus pandemic. Which raises the question: Why are some of us so compelled to run towards movies that mirror our own dire conditions, rather than ones that would temporarily help us forget them?\u003c/p>\n\u003cp>For a start, there’s a sense of control in inviting that which scares us into our living rooms. If we go out of our way to confront it on our own terms, the shock of what’s lurking outside may be lessened, while also making us feel stronger. As George A. Romero notes in 2014 documentary, \u003ca href=\"https://www.imdb.com/title/tt3135424/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Why Horror?\u003c/em>\u003c/a>: “It’s a safe fright when you’re in a movie. And I think that enables you to sort of relish it. To look into yourself and say ‘Why am I afraid of this?’” [aside postid='arts_13878619']\u003c/p>\n\u003cp>The book \u003ca href=\"https://www.goodreads.com/book/show/24945315-scream\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scream: Chilling Adventures in the Science of Fear\u003c/em>\u003c/a>, points out that human fear is rooted in the unfamiliar. “Humans have sophisticated systems of prediction,” Margee Kerr writes, “and when our predictions don’t match our experience, it raises a red flag and puts us in a state of uncertainty.”\u003c/p>\n\u003cp>Watching scary red skies in movies this week, then, might help imbue us with the sense that what we’re living through isn’t, in fact, brand new. Seeing other people, whether they’re fictional characters or not, calmly coping with similarly challenging environments can help make extraordinary conditions feel less strange.\u003c/p>\n\u003cfigure id=\"attachment_13886101\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Contagion.jpg\" alt=\"Just as in March, when quarantined home viewers nationwide streamed 'Contagion' (above) in record numbers, dystopian movies are having a surge in popularity for wildfire season.\" width=\"600\" height=\"397\" class=\"size-full wp-image-13886101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Just as in March, when quarantined home viewers nationwide streamed ‘Contagion’ (above) in record numbers, dystopian movies are experiencing a surge in popularity for wildfire season. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, watching movies about whatever we’re currently facing down can give us a sense of preparation. Maybe if we watch a fictional version of the thing we’re worried about, we’ll learn some useful coping strategies. “I’m probably a little more equipped to deal with death, disease [and] tragedy than other people,” Colin Geddes, a programmer at Toronto International Film Festival has \u003ca href=\"https://www.youtube.com/watch?v=URb0EDLHgjo\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>. “Because I’ve seen it played out and it makes me think about how I would react in these situations with these misfortunes.”\u003c/p>\n\u003cp>Back in March, a \u003ca href=\"https://www.vulture.com/2020/03/contagion-coronavirus-pandemic-fiction.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a> article exploring the rise in popularity of \u003cem>Contagion \u003c/em>echoed Geddes’ sentiments. “I watched it because this current pandemic crisis makes me terrified, and a story about exactly that same thing is one way to grapple with that fear,” wrote Kathryn VanArendonk. “Pandemic fiction is about how people behave in response to acute, sudden-onset helplessness. When we’re confronted with that helplessness in real life, watching some version of it—any version of it, and ideally one where at least some people survive—is comforting. It’s a model for how we could respond.” [aside postid='arts_13885930']\u003c/p>\n\u003cp>Incidentally,\u003cem> Contagion\u003c/em> wasn’t the only pandemic movie that surged in popularity in 2020. \u003cem>Outbreak\u003c/em> and \u003cem>12 Monkeys\u003c/em>—both eerily having their 25th anniversaries this year—have had a renaissance as well. (Which likely explains why the latter was snapped up from Netflix by HBO Max one month after shelter in place went into effect.)\u003c/p>\n\u003cp>What all of this means is: if you have the desire to watch dystopian fiction specifically because it feels like the end of the world right now, there’s absolutely nothing wrong with you. On the contrary, you might even be doing something useful for yourself.\u003c/p>\n\u003cp>So, by all means, as long as Bay Area skies are burning red and raining ash down on us, if you feel like running in the direction of \u003cem>The Martian\u003c/em>‘s poop potatoes, have at it. If you want to throw on a trenchcoat and wander around pretending to be a replicant, go right ahead. (Just put a mask on first.) And if the red sky looks better to you when you imagine the Eye of Sauron in it, well, carry on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If 2020 has taught us anything, it’s the importance of grabbing joy and relief wherever you can find it—even if it’s in a story as disturbing as our reality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>You may also have noticed friends and loved ones \u003cem>watching\u003c/em> these movies—turning to the more dystopian of them for escape. It’s a response that echoes the surge in people watching \u003cem>Contagion\u003c/em> at the start of this year’s coronavirus pandemic. Which raises the question: Why are some of us so compelled to run towards movies that mirror our own dire conditions, rather than ones that would temporarily help us forget them?\u003c/p>\n\u003cp>For a start, there’s a sense of control in inviting that which scares us into our living rooms. If we go out of our way to confront it on our own terms, the shock of what’s lurking outside may be lessened, while also making us feel stronger. As George A. Romero notes in 2014 documentary, \u003ca href=\"https://www.imdb.com/title/tt3135424/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Why Horror?\u003c/em>\u003c/a>: “It’s a safe fright when you’re in a movie. And I think that enables you to sort of relish it. To look into yourself and say ‘Why am I afraid of this?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book \u003ca href=\"https://www.goodreads.com/book/show/24945315-scream\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scream: Chilling Adventures in the Science of Fear\u003c/em>\u003c/a>, points out that human fear is rooted in the unfamiliar. “Humans have sophisticated systems of prediction,” Margee Kerr writes, “and when our predictions don’t match our experience, it raises a red flag and puts us in a state of uncertainty.”\u003c/p>\n\u003cp>Watching scary red skies in movies this week, then, might help imbue us with the sense that what we’re living through isn’t, in fact, brand new. Seeing other people, whether they’re fictional characters or not, calmly coping with similarly challenging environments can help make extraordinary conditions feel less strange.\u003c/p>\n\u003cfigure id=\"attachment_13886101\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Contagion.jpg\" alt=\"Just as in March, when quarantined home viewers nationwide streamed 'Contagion' (above) in record numbers, dystopian movies are having a surge in popularity for wildfire season.\" width=\"600\" height=\"397\" class=\"size-full wp-image-13886101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Just as in March, when quarantined home viewers nationwide streamed ‘Contagion’ (above) in record numbers, dystopian movies are experiencing a surge in popularity for wildfire season. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, watching movies about whatever we’re currently facing down can give us a sense of preparation. Maybe if we watch a fictional version of the thing we’re worried about, we’ll learn some useful coping strategies. “I’m probably a little more equipped to deal with death, disease [and] tragedy than other people,” Colin Geddes, a programmer at Toronto International Film Festival has \u003ca href=\"https://www.youtube.com/watch?v=URb0EDLHgjo\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>. “Because I’ve seen it played out and it makes me think about how I would react in these situations with these misfortunes.”\u003c/p>\n\u003cp>Back in March, a \u003ca href=\"https://www.vulture.com/2020/03/contagion-coronavirus-pandemic-fiction.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a> article exploring the rise in popularity of \u003cem>Contagion \u003c/em>echoed Geddes’ sentiments. “I watched it because this current pandemic crisis makes me terrified, and a story about exactly that same thing is one way to grapple with that fear,” wrote Kathryn VanArendonk. “Pandemic fiction is about how people behave in response to acute, sudden-onset helplessness. When we’re confronted with that helplessness in real life, watching some version of it—any version of it, and ideally one where at least some people survive—is comforting. It’s a model for how we could respond.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Incidentally,\u003cem> Contagion\u003c/em> wasn’t the only pandemic movie that surged in popularity in 2020. \u003cem>Outbreak\u003c/em> and \u003cem>12 Monkeys\u003c/em>—both eerily having their 25th anniversaries this year—have had a renaissance as well. (Which likely explains why the latter was snapped up from Netflix by HBO Max one month after shelter in place went into effect.)\u003c/p>\n\u003cp>What all of this means is: if you have the desire to watch dystopian fiction specifically because it feels like the end of the world right now, there’s absolutely nothing wrong with you. On the contrary, you might even be doing something useful for yourself.\u003c/p>\n\u003cp>So, by all means, as long as Bay Area skies are burning red and raining ash down on us, if you feel like running in the direction of \u003cem>The Martian\u003c/em>‘s poop potatoes, have at it. If you want to throw on a trenchcoat and wander around pretending to be a replicant, go right ahead. (Just put a mask on first.) And if the red sky looks better to you when you imagine the Eye of Sauron in it, well, carry on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If 2020 has taught us anything, it’s the importance of grabbing joy and relief wherever you can find it—even if it’s in a story as disturbing as our reality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The seasons are changing, and parents of school-age children may feel it most acutely. Yet time in the COVID-19 era also seems to be standing still, or (like the timeless \u003cem>Groundhog Day\u003c/em>) repeating itself. Consequently, our answers to the big questions may be mutable: Does time heal all wounds? Does tragedy + time = comedy?\u003c/p>\n\u003cp>This week’s highlighted movies invite us to feel and experience time in ways that, in normal circumstances, would be out of the ordinary. These three films offer, or at least suggest, a bouquet of redemption.\u003c/p>\n\u003cp>\u003cb>\u003cem>I’m Thinking of Ending Things\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80211559\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Charlie Kaufman came to public attention as a screenwriter of absurdist, turn-of-the-century fables of colliding realities (\u003cem>Being John Malkovich\u003c/em>, \u003cem>Human Nature\u003c/em>, \u003cem>Adaptation\u003c/em>, \u003cem>Confessions of a Dangerous Mind\u003c/em>, \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>). When he was given the opportunity, with \u003cem>Synecdoche, New York\u003c/em> and \u003cem>Anomalisa\u003c/em>, to direct his scripts, he confirmed that linear time was way too prosaic for his restless mind.\u003c/p>\n\u003cp>If you’re a Kaufman fan, you’ve already seen his latest obsessively constructed opus, \u003cem>I’m Thinking of Ending Things\u003c/em>, which premiered on Netflix at the front end of the Labor Day weekend. If not, the less you know the better. (Except that a familiarity with the 1950s musical \u003cem>Oklahoma!\u003c/em> is exceedingly helpful.) It’s the kind of movie whose surprises, from one moment to the next, and steady accretion of detail provoke evolving interpretations. \u003c/p>\n\u003cfigure id=\"attachment_13885988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13885988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Buckley as Young Woman, Jesse Plemons as Jake in ‘I’m Thinking Of Ending Things,’ 2020. \u003ccite>(Mary Cybulski/NETFLIX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I won’t deprive you of the pleasure of discovery. Well, other than to say that the film, inspired by Canadian author Iain Reid’s 2016 novel, is mainly structured as two long, car-bound, snow-swept conversations between culturally astute college students (Jessie Buckley and Jesse Plemons) driving to and from his parents’ farmhouse, sandwiched around that awkward and disconcerting visit.\u003c/p>\n\u003cp>\u003cem>I’m Thinking of Ending Things\u003c/em> takes its title from Buckley’s character’s first words, which she says to herself as a tentative first step toward breaking up. The yarn expands and inflates beyond this narrow circumstance to encompass, in my reading, an entire life span. Time is fluid: Now is then is the future. The whole ball of snow, uh, wax, if you will.\u003c/p>\n\u003cp>I’ll refrain from offering my interpretation of this brilliant movie, but I’ll make this observation: (spoiler alert) Plemons’ performance is an homage and a monument to the late Philip Seymour Hoffman (who starred in \u003cem>Synecdoche\u003c/em>). \u003c/p>\n\u003cp>https://youtu.be/OhX9xRrltSU\u003c/p>\n\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 11, streaming via \u003ca href=\"http://timemachinefilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">local theaters\u003c/a>, and airing Sept. 28 on \u003ca href=\"https://www.pbs.org/pov/watch/ourtimemachine/\" rel=\"noopener noreferrer\" target=\"_blank\">KQED\u003c/a>\u003c/p>\n\u003cp>Bay Area filmmaker S. Leo Chiang and Chinese director Yang Sun collaborated on this lovely and touching documentary about the intersection of art, work and family. And time, as the title temptingly promises.\u003c/p>\n\u003cp>As a way of connecting with and honoring his father, the Shanghai artist Maleonn devises the idea of an ambitious theatrical piece entitled \u003cem>Papa’s Time Machine: A Sci-Fi Stage Play with Mechanical Puppetry\u003c/em>. Maleonn’s primary aim, among several goals, is to acknowledge, confront and transcend the fact of his father’s gradually fading memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The filmmakers do an exquisite job, especially in the first 30 minutes, of interweaving the real-life adult child-parent dynamic with the process of making art. Originally (and improbably) envisioned as a six-month project, \u003cem>Papa’s Time Machine\u003c/em> requires ever more time and money, like many theater pieces. If everyone’s goal is a live performance before paying customers—which would also provide the film with a crowd-pleasing climax—it gradually becomes, as months turn into years, a slow-motion race against Papa’s declining faculties.\u003c/p>\n\u003cp>Papa’s long career as the director of the Shanghai Chinese Opera Theater adds a layer of poignancy to Maleonn’s endeavor. Art is a medium through which father and son can relate, even if their work is worlds apart. Tender, soulful and life-affirming, \u003cem>Our Time Machine\u003c/em> is a movie for all seasons.\u003c/p>\n\u003cp>https://vimeo.com/296540624\u003c/p>\n\u003cp>\u003cb>\u003cem>Edo Avant Garde\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/edo-avant-garde\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>The Edo period in Japanese history spanned more than 250 years before it came to an end in 1868. It was a time of peace and prosperity, and gave rise to an extraordinary art movement that is preserved today through remarkable screen and scroll paintings in museums and collections. I would have thought that the only way to appreciate this work was in person, until I saw Linda Hoaglund’s immersive documentary \u003cem>Edo Avant Garde\u003c/em>.\u003c/p>\n\u003cp>Most art history docs suck the life from their subject by alternating pictures and talking head experts. Although Hoaglund employs a wide array of Japanese and U.S. historians, curators and collectors, she is judicious with their words, a choice that allows us to enter the paintings. \u003c/p>\n\u003cp>And we do so with an altered sensibility. “Most Western art depicts nature as seen from a human perspective, at a specific time of day,” explains one expert. “But in the Japanese way of thinking about art, nature is the timeless, awe-inspiring environment and humans are just one of the creatures living there.”\u003c/p>\n\u003cfigure id=\"attachment_13885991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From the studio of Sotatsu, ‘Summer and Autumn Flowers,’ 1600s. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is that we see the paintings simultaneously of their time and outside of time. \u003cem>Edo Avant Garde\u003c/em> has an educational function, of course, but it is primarily an experiential work. And it is far better for it.\u003c/p>\n\u003cp>One last thing: From its title, I anticipated the documentary would seek to persuade that Edo painters were ahead of their time and more influential on subsequent artists than they have gotten credit for. Hoaglund does go there in the last 10 minutes, but it’s almost incidental by that point. We’ve been transported to another, spiritual reality.\u003c/p>\n\u003cp>You may be aware that a big-budget Hollywood exercise involving time travel is getting all the movie-hype these days. I promise a trip with any of the three films above will reap greater rewards.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seasons are changing, and parents of school-age children may feel it most acutely. Yet time in the COVID-19 era also seems to be standing still, or (like the timeless \u003cem>Groundhog Day\u003c/em>) repeating itself. Consequently, our answers to the big questions may be mutable: Does time heal all wounds? Does tragedy + time = comedy?\u003c/p>\n\u003cp>This week’s highlighted movies invite us to feel and experience time in ways that, in normal circumstances, would be out of the ordinary. These three films offer, or at least suggest, a bouquet of redemption.\u003c/p>\n\u003cp>\u003cb>\u003cem>I’m Thinking of Ending Things\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80211559\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Charlie Kaufman came to public attention as a screenwriter of absurdist, turn-of-the-century fables of colliding realities (\u003cem>Being John Malkovich\u003c/em>, \u003cem>Human Nature\u003c/em>, \u003cem>Adaptation\u003c/em>, \u003cem>Confessions of a Dangerous Mind\u003c/em>, \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>). When he was given the opportunity, with \u003cem>Synecdoche, New York\u003c/em> and \u003cem>Anomalisa\u003c/em>, to direct his scripts, he confirmed that linear time was way too prosaic for his restless mind.\u003c/p>\n\u003cp>If you’re a Kaufman fan, you’ve already seen his latest obsessively constructed opus, \u003cem>I’m Thinking of Ending Things\u003c/em>, which premiered on Netflix at the front end of the Labor Day weekend. If not, the less you know the better. (Except that a familiarity with the 1950s musical \u003cem>Oklahoma!\u003c/em> is exceedingly helpful.) It’s the kind of movie whose surprises, from one moment to the next, and steady accretion of detail provoke evolving interpretations. \u003c/p>\n\u003cfigure id=\"attachment_13885988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13885988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Buckley as Young Woman, Jesse Plemons as Jake in ‘I’m Thinking Of Ending Things,’ 2020. \u003ccite>(Mary Cybulski/NETFLIX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I won’t deprive you of the pleasure of discovery. Well, other than to say that the film, inspired by Canadian author Iain Reid’s 2016 novel, is mainly structured as two long, car-bound, snow-swept conversations between culturally astute college students (Jessie Buckley and Jesse Plemons) driving to and from his parents’ farmhouse, sandwiched around that awkward and disconcerting visit.\u003c/p>\n\u003cp>\u003cem>I’m Thinking of Ending Things\u003c/em> takes its title from Buckley’s character’s first words, which she says to herself as a tentative first step toward breaking up. The yarn expands and inflates beyond this narrow circumstance to encompass, in my reading, an entire life span. Time is fluid: Now is then is the future. The whole ball of snow, uh, wax, if you will.\u003c/p>\n\u003cp>I’ll refrain from offering my interpretation of this brilliant movie, but I’ll make this observation: (spoiler alert) Plemons’ performance is an homage and a monument to the late Philip Seymour Hoffman (who starred in \u003cem>Synecdoche\u003c/em>). \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OhX9xRrltSU'\n title='//www.youtube.com/embed/OhX9xRrltSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 11, streaming via \u003ca href=\"http://timemachinefilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">local theaters\u003c/a>, and airing Sept. 28 on \u003ca href=\"https://www.pbs.org/pov/watch/ourtimemachine/\" rel=\"noopener noreferrer\" target=\"_blank\">KQED\u003c/a>\u003c/p>\n\u003cp>Bay Area filmmaker S. Leo Chiang and Chinese director Yang Sun collaborated on this lovely and touching documentary about the intersection of art, work and family. And time, as the title temptingly promises.\u003c/p>\n\u003cp>As a way of connecting with and honoring his father, the Shanghai artist Maleonn devises the idea of an ambitious theatrical piece entitled \u003cem>Papa’s Time Machine: A Sci-Fi Stage Play with Mechanical Puppetry\u003c/em>. Maleonn’s primary aim, among several goals, is to acknowledge, confront and transcend the fact of his father’s gradually fading memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The filmmakers do an exquisite job, especially in the first 30 minutes, of interweaving the real-life adult child-parent dynamic with the process of making art. Originally (and improbably) envisioned as a six-month project, \u003cem>Papa’s Time Machine\u003c/em> requires ever more time and money, like many theater pieces. If everyone’s goal is a live performance before paying customers—which would also provide the film with a crowd-pleasing climax—it gradually becomes, as months turn into years, a slow-motion race against Papa’s declining faculties.\u003c/p>\n\u003cp>Papa’s long career as the director of the Shanghai Chinese Opera Theater adds a layer of poignancy to Maleonn’s endeavor. Art is a medium through which father and son can relate, even if their work is worlds apart. Tender, soulful and life-affirming, \u003cem>Our Time Machine\u003c/em> is a movie for all seasons.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003cem>Edo Avant Garde\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/edo-avant-garde\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>The Edo period in Japanese history spanned more than 250 years before it came to an end in 1868. It was a time of peace and prosperity, and gave rise to an extraordinary art movement that is preserved today through remarkable screen and scroll paintings in museums and collections. I would have thought that the only way to appreciate this work was in person, until I saw Linda Hoaglund’s immersive documentary \u003cem>Edo Avant Garde\u003c/em>.\u003c/p>\n\u003cp>Most art history docs suck the life from their subject by alternating pictures and talking head experts. Although Hoaglund employs a wide array of Japanese and U.S. historians, curators and collectors, she is judicious with their words, a choice that allows us to enter the paintings. \u003c/p>\n\u003cp>And we do so with an altered sensibility. “Most Western art depicts nature as seen from a human perspective, at a specific time of day,” explains one expert. “But in the Japanese way of thinking about art, nature is the timeless, awe-inspiring environment and humans are just one of the creatures living there.”\u003c/p>\n\u003cfigure id=\"attachment_13885991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From the studio of Sotatsu, ‘Summer and Autumn Flowers,’ 1600s. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is that we see the paintings simultaneously of their time and outside of time. \u003cem>Edo Avant Garde\u003c/em> has an educational function, of course, but it is primarily an experiential work. And it is far better for it.\u003c/p>\n\u003cp>One last thing: From its title, I anticipated the documentary would seek to persuade that Edo painters were ahead of their time and more influential on subsequent artists than they have gotten credit for. Hoaglund does go there in the last 10 minutes, but it’s almost incidental by that point. We’ve been transported to another, spiritual reality.\u003c/p>\n\u003cp>You may be aware that a big-budget Hollywood exercise involving time travel is getting all the movie-hype these days. I promise a trip with any of the three films above will reap greater rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. 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You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M0O7lLe4SmA\u003c/p>\n\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. 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Keep that innocence to grow up in our society.”\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=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\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/M0O7lLe4SmA'\n title='//www.youtube.com/embed/M0O7lLe4SmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\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=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Mann's 'Heat' at 25: A Newly Relevant Study in Loneliness",
"headTitle": "Michael Mann’s ‘Heat’ at 25: A Newly Relevant Study in Loneliness | KQED",
"content": "\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\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=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\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=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Feels Good Man' Traces Pepe the Frog From Hate Symbol to Democracy Icon",
"headTitle": "‘Feels Good Man’ Traces Pepe the Frog From Hate Symbol to Democracy Icon | KQED",
"content": "\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZEiqZWw5vYs\u003c/p>\n\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\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/ZEiqZWw5vYs'\n title='//www.youtube.com/embed/ZEiqZWw5vYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana",
"headTitle": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana | KQED",
"content": "\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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": "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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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