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"title": "Now Playing! Mill Valley and Drunken Fests on Tap, Radha on the Home Screen",
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"content": "\u003cp>Rescheduled, rejiggered and reimagined, the fall movie calendar nonetheless looks a lot like it does in a normal year: Festivals lined up like planes on a tarmac, with new releases dotting the horizon. It’s getting to be desperate days for theaters, but film fans are still well supplied.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 8–18\u003cbr>\nStreaming and drive-in\u003c/p>\n\u003cp>The pandemic has torpedoed two signature elements of Marin County’s laidback extravaganza: the live concerts at Sweetwater linked to music-based films and the red-carpet parade of Oscar-hopeful stars. The latter, at least, has been safely transposed online, which means you can take in interviews with genuine giants from your couch.\u003c/p>\n\u003cp>The stargazer alert includes tributees Dame Judi Dench (\u003cem>Blithe Spirit\u003c/em>), Italian immortal Sophia Loren, Viola Davis, Anthony Hopkins (\u003cem>The Father\u003c/em>) and Kate Winslet (\u003cem>Ammonite\u003c/em>). The other honorees are Regina King (\u003cem>One Night in Miami\u003c/em>), local thespian Delroy Lindo, Irish actress and writer Clare Dunne (\u003cem>Herself\u003c/em>) Aaron Sorkin and Frieda Lee Mock (\u003cem>Ruth: Justice Ginsburg in Her Own Words\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13887615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13887615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand in Chloé Zhao’s ‘Nomadland.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MVFF is embracing the in-person, drive-in model to a far greater degree than any other local festival since COVID-19 hit. The 52-foot screen at Lagoon Park in Marin Center will host the world premiere of \u003cem>Blithe Spirit\u003c/em> on opening night, the North American premiere of Gia Coppola’s \u003cem>Mainstream\u003c/em>, Chloé Zhao’s highly touted \u003cem>Nomadland\u003c/em>, Braden King’s \u003cem>The Evening Hour\u003c/em>, Francis Lee’s \u003cem>Ammonite\u003c/em> and \u003cem>The Bee Gees: How Can You Mend a Broken Heart\u003c/em> on closing night. And a \u003cem>Star Wars\u003c/em> movie from 1980, if you missed it the first—or ninth—time around.\u003c/p>\n\u003cp>One MVFF staple unaffected by the pandemic is the presence of several notable local documentary filmmakers. Erika Cohn (\u003cem>The Judge\u003c/em>) constructs \u003cem>Belly of the Beast\u003c/em> around stalwart survivor-turned-activist Kelli Dixon and Cynthia Chandler of the Oakland-based human rights organization Justice Now. Their persistence and courage leads to legislation outlawing the despicable practice of California Department of Corrections-sanctioned surgical sterilization. \u003cem>Belly of the Beast\u003c/em> also opens Oct. 14 at the Roxie virtual cinema.\u003c/p>\n\u003cp>On a lighter, brighter note, Marcia Jarmel and Ken Schneider (\u003cem>Havana Curveball\u003c/em>) deliver a double album of Cuba libre with \u003cem>Los Hermanos\u003c/em>/\u003cem>The Brothers\u003c/em>. Violinist Ilmar Gavilán has lived in the States and performed around the globe for years, while his younger brother, pianist Aldo López Gavilán Junco, thrived in Havana. President Obama’s enlightened cultural-exchange policies set the stage for a joyful U.S. tour featuring Aldo’s blood-pumping compositions that meld jazz, classical and Latin music.\u003c/p>\n\u003cfigure id=\"attachment_13887616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg\" alt=\"\" width=\"640\" height=\"415\" class=\"size-full wp-image-13887616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web-160x104.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Jackson, Joan Baez, Ira Sandperl, Dr. King and Dora McDonald in South Carolina, 1966, from ‘The Boys Who Said No!’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judith Ehrlich’s 2000 doc, \u003cem>The Good War and Those Who Refused to Fight It\u003c/em>, was a revelatory account of conscientious objectors to World War II. \u003cem>The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers\u003c/em> (2009), the riveting whistle-blower saga she made with Rick Goldsmith, revisited one of the highest-profile examples of civil disobedience in U.S. history. Ehrlich’s impassioned capstone, \u003cem>The Boys Who Said No! Draft Resistance and the Vietnam War\u003c/em>, features organizer David Harris and singer-activist Joan Baez then and now. The doc has its world premiere at MVFF accompanied by a Q&A.\u003c/p>\n\u003cp>Of special note to local filmmakers and film buffs, MVFF’s starry lineup of panel discussions, dubbed Behind the Screen, is free to anyone with an RSVP. The tempting topics include the evolution of Black women’s roles onscreen, rethinking classics (towards a more democratic global canon) and the ever-popular state of the film industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cem>The Forty-Year-Old Version\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct 9\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80231356\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>In case it’s unclear from the title, Radha is having a midlife crisis. Once an up-and-coming Black playwright who maybe, possibly, could have been The Voice of Her Generation, now she’s just another scuffling New York writer with a day job as a teacher, middling contacts, no partner and no path forward. Worse, she’s lost her voice as an artist.\u003c/p>\n\u003cp>The most surprising and endearing thing about the protagonist of Radha Blank’s semi-autobiographical indie comedy, played by the writer-director, is how square she is. Blank hasn’t made herself a cooler-than-thou rebel doling out putdowns to lesser beings. She’s on the wrong side of hipdom, as everyone points out, including her blunt high school students and the unhoused dude on her Harlem block.\u003c/p>\n\u003cp>https://youtu.be/RRpGNnaDzeE\u003c/p>\n\u003cp>But Radha is a big-city Black woman, so neither self-pity nor self-delusion survive very long in her vicinity. She pushes ahead on a new track, reinventing herself as a rapper with, ahem, mixed results. Meanwhile, Archie (Peter Kim), her gay Korean BFF from high school and current agent, pulls strings and, ahem, juggles balls to launch a workshop production of one of Radha’s old scripts.\u003c/p>\n\u003cp>Shot in black and white all over NYC, \u003cem>The Forty-Year-Old Version\u003c/em> evokes, yet is miles from, the tradition of blistering, uncompromising films by Black filmmakers. Blank’s critiques of the white establishment behind “daring” theater are amusing, but don’t draw much blood. More edge—or less of the conventional ups-and-downs with the designated (and underdeveloped) love interest—would be welcome, given that the film clocks in at over two hours.\u003c/p>\n\u003cp>And yet, \u003cem>The Forty-Year-Old Version\u003c/em>, which earned Blank the directing award in the dramatic competition at Sundance, isn’t satire, but a wry, open-hearted gambol through the self-aware psyche of a talented lady who’s unwilling to settle for obscurity or, worse, complicity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.drunkenfilmfest.com/oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Drunken Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 11–13 and 15–17 at Tribune Tower, Oakland\u003cbr>\nStreaming on Twitch Oct. 14 and 18\u003c/p>\n\u003cp>The gestalt, the vibe and the raison d’être of the Drunken Film Festival is very simple: Movies in bars. So what’s an approximate substitute in the year of the pandemic? Ripping a page from football tailgate playbooks, the DFF convenes six nights in the outdoor parking lot of Tribune Tower in downtown Oakland. On the off nights, the festival of short films unspools online via Twitch. The whole shebang is free, which eliminates the barriers to entry. Hoist a pint, wherever you watch, and toast the filmmakers. Vive cinema!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rescheduled, rejiggered and reimagined, the fall movie calendar nonetheless looks a lot like it does in a normal year: Festivals lined up like planes on a tarmac, with new releases dotting the horizon. It’s getting to be desperate days for theaters, but film fans are still well supplied.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mvff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 8–18\u003cbr>\nStreaming and drive-in\u003c/p>\n\u003cp>The pandemic has torpedoed two signature elements of Marin County’s laidback extravaganza: the live concerts at Sweetwater linked to music-based films and the red-carpet parade of Oscar-hopeful stars. The latter, at least, has been safely transposed online, which means you can take in interviews with genuine giants from your couch.\u003c/p>\n\u003cp>The stargazer alert includes tributees Dame Judi Dench (\u003cem>Blithe Spirit\u003c/em>), Italian immortal Sophia Loren, Viola Davis, Anthony Hopkins (\u003cem>The Father\u003c/em>) and Kate Winslet (\u003cem>Ammonite\u003c/em>). The other honorees are Regina King (\u003cem>One Night in Miami\u003c/em>), local thespian Delroy Lindo, Irish actress and writer Clare Dunne (\u003cem>Herself\u003c/em>) Aaron Sorkin and Frieda Lee Mock (\u003cem>Ruth: Justice Ginsburg in Her Own Words\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13887615\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13887615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/01anomadland_rec709_100nits_239FF_still_01_20200723_R2_rgb_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Frances McDormand in Chloé Zhao’s ‘Nomadland.’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MVFF is embracing the in-person, drive-in model to a far greater degree than any other local festival since COVID-19 hit. The 52-foot screen at Lagoon Park in Marin Center will host the world premiere of \u003cem>Blithe Spirit\u003c/em> on opening night, the North American premiere of Gia Coppola’s \u003cem>Mainstream\u003c/em>, Chloé Zhao’s highly touted \u003cem>Nomadland\u003c/em>, Braden King’s \u003cem>The Evening Hour\u003c/em>, Francis Lee’s \u003cem>Ammonite\u003c/em> and \u003cem>The Bee Gees: How Can You Mend a Broken Heart\u003c/em> on closing night. And a \u003cem>Star Wars\u003c/em> movie from 1980, if you missed it the first—or ninth—time around.\u003c/p>\n\u003cp>One MVFF staple unaffected by the pandemic is the presence of several notable local documentary filmmakers. Erika Cohn (\u003cem>The Judge\u003c/em>) constructs \u003cem>Belly of the Beast\u003c/em> around stalwart survivor-turned-activist Kelli Dixon and Cynthia Chandler of the Oakland-based human rights organization Justice Now. Their persistence and courage leads to legislation outlawing the despicable practice of California Department of Corrections-sanctioned surgical sterilization. \u003cem>Belly of the Beast\u003c/em> also opens Oct. 14 at the Roxie virtual cinema.\u003c/p>\n\u003cp>On a lighter, brighter note, Marcia Jarmel and Ken Schneider (\u003cem>Havana Curveball\u003c/em>) deliver a double album of Cuba libre with \u003cem>Los Hermanos\u003c/em>/\u003cem>The Brothers\u003c/em>. Violinist Ilmar Gavilán has lived in the States and performed around the globe for years, while his younger brother, pianist Aldo López Gavilán Junco, thrived in Havana. President Obama’s enlightened cultural-exchange policies set the stage for a joyful U.S. tour featuring Aldo’s blood-pumping compositions that meld jazz, classical and Latin music.\u003c/p>\n\u003cfigure id=\"attachment_13887616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg\" alt=\"\" width=\"640\" height=\"415\" class=\"size-full wp-image-13887616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/THE-BOYS-WHO-SAID-NO-Still-2_web-160x104.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Jackson, Joan Baez, Ira Sandperl, Dr. King and Dora McDonald in South Carolina, 1966, from ‘The Boys Who Said No!’ \u003ccite>(Courtesy MVFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Judith Ehrlich’s 2000 doc, \u003cem>The Good War and Those Who Refused to Fight It\u003c/em>, was a revelatory account of conscientious objectors to World War II. \u003cem>The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers\u003c/em> (2009), the riveting whistle-blower saga she made with Rick Goldsmith, revisited one of the highest-profile examples of civil disobedience in U.S. history. Ehrlich’s impassioned capstone, \u003cem>The Boys Who Said No! Draft Resistance and the Vietnam War\u003c/em>, features organizer David Harris and singer-activist Joan Baez then and now. The doc has its world premiere at MVFF accompanied by a Q&A.\u003c/p>\n\u003cp>Of special note to local filmmakers and film buffs, MVFF’s starry lineup of panel discussions, dubbed Behind the Screen, is free to anyone with an RSVP. The tempting topics include the evolution of Black women’s roles onscreen, rethinking classics (towards a more democratic global canon) and the ever-popular state of the film industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>The Forty-Year-Old Version\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct 9\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80231356\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>In case it’s unclear from the title, Radha is having a midlife crisis. Once an up-and-coming Black playwright who maybe, possibly, could have been The Voice of Her Generation, now she’s just another scuffling New York writer with a day job as a teacher, middling contacts, no partner and no path forward. Worse, she’s lost her voice as an artist.\u003c/p>\n\u003cp>The most surprising and endearing thing about the protagonist of Radha Blank’s semi-autobiographical indie comedy, played by the writer-director, is how square she is. Blank hasn’t made herself a cooler-than-thou rebel doling out putdowns to lesser beings. She’s on the wrong side of hipdom, as everyone points out, including her blunt high school students and the unhoused dude on her Harlem block.\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/RRpGNnaDzeE'\n title='//www.youtube.com/embed/RRpGNnaDzeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Radha is a big-city Black woman, so neither self-pity nor self-delusion survive very long in her vicinity. She pushes ahead on a new track, reinventing herself as a rapper with, ahem, mixed results. Meanwhile, Archie (Peter Kim), her gay Korean BFF from high school and current agent, pulls strings and, ahem, juggles balls to launch a workshop production of one of Radha’s old scripts.\u003c/p>\n\u003cp>Shot in black and white all over NYC, \u003cem>The Forty-Year-Old Version\u003c/em> evokes, yet is miles from, the tradition of blistering, uncompromising films by Black filmmakers. Blank’s critiques of the white establishment behind “daring” theater are amusing, but don’t draw much blood. More edge—or less of the conventional ups-and-downs with the designated (and underdeveloped) love interest—would be welcome, given that the film clocks in at over two hours.\u003c/p>\n\u003cp>And yet, \u003cem>The Forty-Year-Old Version\u003c/em>, which earned Blank the directing award in the dramatic competition at Sundance, isn’t satire, but a wry, open-hearted gambol through the self-aware psyche of a talented lady who’s unwilling to settle for obscurity or, worse, complicity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.drunkenfilmfest.com/oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Drunken Film Festival\u003c/a>\u003c/b>\u003cbr>\nOct. 11–13 and 15–17 at Tribune Tower, Oakland\u003cbr>\nStreaming on Twitch Oct. 14 and 18\u003c/p>\n\u003cp>The gestalt, the vibe and the raison d’être of the Drunken Film Festival is very simple: Movies in bars. So what’s an approximate substitute in the year of the pandemic? Ripping a page from football tailgate playbooks, the DFF convenes six nights in the outdoor parking lot of Tribune Tower in downtown Oakland. On the off nights, the festival of short films unspools online via Twitch. The whole shebang is free, which eliminates the barriers to entry. Hoist a pint, wherever you watch, and toast the filmmakers. Vive cinema!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘The Boys in the Band’: Raging Gracefully | KQED",
"content": "\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=862Pb9oDDAo\u003c/p>\n\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\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/862Pb9oDDAo'\n title='//www.youtube.com/embed/862Pb9oDDAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Movie Theaters in San Francisco Could Reopen on Oct. 7",
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"content": "\u003cp>San Francisco Mayor London Breed announced a goal to reopen indoor movie theaters in the city starting Wednesday, Oct. 7. \u003c/p>\n\u003cp>Guidelines issued on Tuesday by the San Francisco Department of Public Health state the reopening is contingent on San Francisco remaining in the so-called “orange tier.” If that holds through Oct. 7, cinemas may then reopen at 25 percent capacity or up to 100 people, whichever is less. In addition, the guidelines prohibit the sale of concessions and the consumption of outside food and drinks.\u003c/p>\n\u003cp>San Francisco is the first Bay Area county to enter the orange (“moderate”) tier in California’s color-coded reopening system for businesses and services. \u003c/p>\n\u003cp>“We know this continues to be a challenging time with people struggling economically and emotionally. However, thanks to San Francisco’s commitment to following public health guidance, we are seeing improvements in our numbers, which means we can continue to move forward with reopening,” said Mayor Breed in a statement on Tuesday. \u003c/p>\n\u003cp>The rules around reopening movie theaters vary from county to county. For example, indoor cinemas in Napa County have \u003ca href=\"https://www.kqed.org/arts/13886431/as-some-bay-area-movie-theaters-reopen-local-authorities-exercise-caution\" rel=\"noopener noreferrer\" target=\"_blank\">already been open for business for more than two weeks\u003c/a>. They were allowed to do so while in the more severe “red” tier, and customers have been able to purchase limited concessions. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though San Francisco cinemas could soon be reopen, some are not ready to do so just yet. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having now been closed to the public for over six months, we’ve been taking stock of the challenges facing our eventual reopening,” said Lex Sloan, executive director of The Roxie Theater, an independent movie house in San Francisco’s Mission District. “While we want nothing more than to return to being a physical space where film lovers gather together in communal appreciation of the seventh art, we are not, despite the recent announcement that San Francisco theaters can reopen today, rushing headlong into doing so for the general public.” \u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced a goal to reopen indoor movie theaters in the city starting Wednesday, Oct. 7. \u003c/p>\n\u003cp>Guidelines issued on Tuesday by the San Francisco Department of Public Health state the reopening is contingent on San Francisco remaining in the so-called “orange tier.” If that holds through Oct. 7, cinemas may then reopen at 25 percent capacity or up to 100 people, whichever is less. In addition, the guidelines prohibit the sale of concessions and the consumption of outside food and drinks.\u003c/p>\n\u003cp>San Francisco is the first Bay Area county to enter the orange (“moderate”) tier in California’s color-coded reopening system for businesses and services. \u003c/p>\n\u003cp>“We know this continues to be a challenging time with people struggling economically and emotionally. However, thanks to San Francisco’s commitment to following public health guidance, we are seeing improvements in our numbers, which means we can continue to move forward with reopening,” said Mayor Breed in a statement on Tuesday. \u003c/p>\n\u003cp>The rules around reopening movie theaters vary from county to county. For example, indoor cinemas in Napa County have \u003ca href=\"https://www.kqed.org/arts/13886431/as-some-bay-area-movie-theaters-reopen-local-authorities-exercise-caution\" rel=\"noopener noreferrer\" target=\"_blank\">already been open for business for more than two weeks\u003c/a>. They were allowed to do so while in the more severe “red” tier, and customers have been able to purchase limited concessions. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even though San Francisco cinemas could soon be reopen, some are not ready to do so just yet. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having now been closed to the public for over six months, we’ve been taking stock of the challenges facing our eventual reopening,” said Lex Sloan, executive director of The Roxie Theater, an independent movie house in San Francisco’s Mission District. “While we want nothing more than to return to being a physical space where film lovers gather together in communal appreciation of the seventh art, we are not, despite the recent announcement that San Francisco theaters can reopen today, rushing headlong into doing so for the general public.” \u003cem>—Chloe Veltman (\u003ca href=\"https://twitter.com/chloeveltman\" rel=\"noopener noreferrer\" target=\"_blank\">@chloeveltman\u003c/a>)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Hit the Road with Steinem and Local Fests From Your Home Screen",
"headTitle": "Now Playing! Hit the Road with Steinem and Local Fests From Your Home Screen | KQED",
"content": "\u003cp>Adaptation to the streaming universe continues apace for viewers, purveyors and nonprofit film entities such as festivals. The daily newspapers’ “opening this week” roundups list VOD releases, Netflix, etc., in lieu of theatrical venues. What feels the same, though, is the quickening pace of the fall movie scene. The calendar is surprisingly full.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Glorias\u003c/em>\u003c/b>\u003cbr>\nPremieres Sept. 30\u003cbr>\nAmazon Prime\u003c/p>\n\u003cp>Julie Taymor, renowned for her inspired flights of visual fancy (\u003cem>The Lion King\u003c/em> onstage, \u003cem>Frida\u003c/em> onscreen), is an unlikely choice to tackle a formulaic 20th-century biopic. And when she inevitably infuses her literalist adaptation of feminist Gloria Steinem’s memoir \u003cem>My Life on the Road\u003c/em> with dreamily fantastic sequences—catapulting a smugly sexist TV interviewer into a tornado out of \u003cem>The Wizard of Oz\u003c/em>, for example—more often than not they land with a thud.\u003c/p>\n\u003cp>https://youtu.be/fLD6m9moheY\u003c/p>\n\u003cp>Nonetheless, \u003cem>The Glorias\u003c/em> (a two hour-plus extravaganza made for theatrical release) exudes a gravitational pull and amasses an irresistible if intermittent power as it wends its way from Gloria’s childhood with a dancing-on-the-edge-of-broke father and a chronically anxious (and thwarted journalist) mother. Her early career is infuriating, if unsurprising: After a sojourn in India following her graduation from Smith College, Steinem endures a wave of casual sexism from Manhattan magazine editors before \u003cem>and\u003c/em> after she publishes a landmark exposé of her undercover stint as a Playboy bunny.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Glorias\u003c/em> casts four actresses at different ages and stages of Steinem’s life who, from time to time, converse with each other on a Greyhound bus of the mind. That idea works about as well as you’d expect. Taymor’s best decision, though, is placing Steinem alongside—rather than above—Florynce Kennedy (an electric Lorraine Toussaint), Dolores Huerta, Bella Abzug (Bette Midler having a blast) and Wanda Mankiller.\u003c/p>\n\u003cp>https://vimeo.com/311819250\u003c/p>\n\u003cp>\u003cb>Cinejoy 1\u003c/b>\u003cbr>\nOct. 1–14\u003cbr>\n\u003ca href=\"https://www.creatics.org/cinejoy\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming online\u003c/a>\u003c/p>\n\u003cp>The popular Cinequest film festival has long been a welcoming spot for mavericks, showcasing fistfuls of world premieres that, frequently, are never heard or seen again. Forced to move online during the pandemic, the sprawling program consists of two sections: “Spotlight” comprises 14 movies and events scheduled for specific times, while “Showcase” lets viewers peruse 115 features and shorts over a two-week span.\u003c/p>\n\u003cp>The offerings include local filmmaker Ben Rekhi’s optimistic documentary, \u003cem>The Reunited States\u003c/em>, which follows a handful of folks around the country who strive to close the partisan gap. (By singing “Kumbaya”? Or shuttering a cable news network that broadcasts propaganda? You’ll have to watch the film to find out.) On the indie-comedy front, life imitates art in writer-director Michael Lovan’s \u003cem>Murder Bury Win\u003c/em> (a world premiere) when the creators of a board game have to hide an inconvenient corpse.\u003c/p>\n\u003cfigure id=\"attachment_13887080\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DickJohnson_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kirsten Johnson’s ‘Dick Johnson is Dead.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Dick Johnson is Dead\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct. 2\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80234465\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Veteran shooter Kirsten Johnson’s terrific 2016 confessional exploration of the practice and ethics of nonfiction filmmaking, \u003cem>Cameraperson\u003c/em>, is essential viewing for anyone with a serious interest in documentary. Her new film goes further, playing with the boundary between fiction and reality, but gradually loses the mooring of compassion that defined \u003cem>Cameraperson\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Dick Johnson is Dead\u003c/em> is a film about loss and endings, as you’d expect. The filmmaker’s easygoing, octogenarian father is losing his memory, and acquiesces to retiring from his psychiatry practice, relinquishing his car keys and moving out of his exurban Seattle house into his daughter’s Manhattan apartment. As a way of confronting the inevitability of death—or worse, the eventual evaporation of personality (due to Alzheimer’s disease) that Dick’s wife and Kirsten’s mother endured—dad and daughter film a jolly series of choreographed accidents resulting in Dick’s demise.\u003c/p>\n\u003cp>It’s all fun and games until someone loses their memory. Johnson is slow to recognize, or accept, that Dick is fading, and leaves him alone in a friend’s unfamiliar apartment on Halloween to go out with her kids. His upset is painful to witness, while her obliviousness takes on an unintended and unwelcome air of cruelty. And a film that began in a spirit of loving collaboration takes a turn toward what feels like exploitation.\u003c/p>\n\u003cp>There is something to be gleaned by adult children of elderly parents from \u003cem>Dick Johnson is Dead\u003c/em>, but it may not be what Kirsten Johnson intended. \u003c/p>\n\u003cfigure id=\"attachment_13887082\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web.jpg\" alt=\"\" width=\"1300\" height=\"731\" class=\"size-full wp-image-13887082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-768x432.jpg 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Katia Goulioni in ‘My Name is Eftihia.’ \u003ccite>(San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>San Francisco Greek Film Festival\u003c/b>\u003cbr>\nOct. 3–10\u003cbr>\n\u003ca href=\"https://grfilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">Online and drive-in\u003c/a>\u003c/p>\n\u003cp>Who knew the S.F. Greek Film Festival has been around for 17 years? Paradoxically, in the year of the pandemic, the fest is taking its light from under a bushel and reaching out to a broader audience. How? By making its program of streaming offerings completely free. The only paid event is the Oct. 4 drive-in screening of Jules Dassin’s wonderful 1964 caper comedy \u003cem>Topkapi\u003c/em> at Par 3 at Poplar Creek in San Mateo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The market for foreign films in the U.S. was shrinking long before the pandemic, and its hellishly difficult for Greek movies to find distribution. Even a slew of Hellenic Academy Awards (best feature film, actor, supporting actor, supporting actress, production design) wasn’t enough to land a U.S. buyer for \u003cem>My Name is Eftihia\u003c/em>. From that perspective, the S.F. Greek Film Festival’s presentation of Angelos Frantzis’ epic drama about the poet and lyricist Eftihia Papagianopoulou is something of a gift.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adaptation to the streaming universe continues apace for viewers, purveyors and nonprofit film entities such as festivals. The daily newspapers’ “opening this week” roundups list VOD releases, Netflix, etc., in lieu of theatrical venues. What feels the same, though, is the quickening pace of the fall movie scene. The calendar is surprisingly full.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Glorias\u003c/em>\u003c/b>\u003cbr>\nPremieres Sept. 30\u003cbr>\nAmazon Prime\u003c/p>\n\u003cp>Julie Taymor, renowned for her inspired flights of visual fancy (\u003cem>The Lion King\u003c/em> onstage, \u003cem>Frida\u003c/em> onscreen), is an unlikely choice to tackle a formulaic 20th-century biopic. And when she inevitably infuses her literalist adaptation of feminist Gloria Steinem’s memoir \u003cem>My Life on the Road\u003c/em> with dreamily fantastic sequences—catapulting a smugly sexist TV interviewer into a tornado out of \u003cem>The Wizard of Oz\u003c/em>, for example—more often than not they land with a thud.\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/fLD6m9moheY'\n title='//www.youtube.com/embed/fLD6m9moheY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nonetheless, \u003cem>The Glorias\u003c/em> (a two hour-plus extravaganza made for theatrical release) exudes a gravitational pull and amasses an irresistible if intermittent power as it wends its way from Gloria’s childhood with a dancing-on-the-edge-of-broke father and a chronically anxious (and thwarted journalist) mother. Her early career is infuriating, if unsurprising: After a sojourn in India following her graduation from Smith College, Steinem endures a wave of casual sexism from Manhattan magazine editors before \u003cem>and\u003c/em> after she publishes a landmark exposé of her undercover stint as a Playboy bunny.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Glorias\u003c/em> casts four actresses at different ages and stages of Steinem’s life who, from time to time, converse with each other on a Greyhound bus of the mind. That idea works about as well as you’d expect. Taymor’s best decision, though, is placing Steinem alongside—rather than above—Florynce Kennedy (an electric Lorraine Toussaint), Dolores Huerta, Bella Abzug (Bette Midler having a blast) and Wanda Mankiller.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Cinejoy 1\u003c/b>\u003cbr>\nOct. 1–14\u003cbr>\n\u003ca href=\"https://www.creatics.org/cinejoy\" rel=\"noopener noreferrer\" target=\"_blank\">Streaming online\u003c/a>\u003c/p>\n\u003cp>The popular Cinequest film festival has long been a welcoming spot for mavericks, showcasing fistfuls of world premieres that, frequently, are never heard or seen again. Forced to move online during the pandemic, the sprawling program consists of two sections: “Spotlight” comprises 14 movies and events scheduled for specific times, while “Showcase” lets viewers peruse 115 features and shorts over a two-week span.\u003c/p>\n\u003cp>The offerings include local filmmaker Ben Rekhi’s optimistic documentary, \u003cem>The Reunited States\u003c/em>, which follows a handful of folks around the country who strive to close the partisan gap. (By singing “Kumbaya”? Or shuttering a cable news network that broadcasts propaganda? You’ll have to watch the film to find out.) On the indie-comedy front, life imitates art in writer-director Michael Lovan’s \u003cem>Murder Bury Win\u003c/em> (a world premiere) when the creators of a board game have to hide an inconvenient corpse.\u003c/p>\n\u003cfigure id=\"attachment_13887080\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/DickJohnson_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/DickJohnson_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kirsten Johnson’s ‘Dick Johnson is Dead.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Dick Johnson is Dead\u003c/em>\u003c/b>\u003cbr>\nPremieres Oct. 2\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80234465\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Veteran shooter Kirsten Johnson’s terrific 2016 confessional exploration of the practice and ethics of nonfiction filmmaking, \u003cem>Cameraperson\u003c/em>, is essential viewing for anyone with a serious interest in documentary. Her new film goes further, playing with the boundary between fiction and reality, but gradually loses the mooring of compassion that defined \u003cem>Cameraperson\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Dick Johnson is Dead\u003c/em> is a film about loss and endings, as you’d expect. The filmmaker’s easygoing, octogenarian father is losing his memory, and acquiesces to retiring from his psychiatry practice, relinquishing his car keys and moving out of his exurban Seattle house into his daughter’s Manhattan apartment. As a way of confronting the inevitability of death—or worse, the eventual evaporation of personality (due to Alzheimer’s disease) that Dick’s wife and Kirsten’s mother endured—dad and daughter film a jolly series of choreographed accidents resulting in Dick’s demise.\u003c/p>\n\u003cp>It’s all fun and games until someone loses their memory. Johnson is slow to recognize, or accept, that Dick is fading, and leaves him alone in a friend’s unfamiliar apartment on Halloween to go out with her kids. His upset is painful to witness, while her obliviousness takes on an unintended and unwelcome air of cruelty. And a film that began in a spirit of loving collaboration takes a turn toward what feels like exploitation.\u003c/p>\n\u003cp>There is something to be gleaned by adult children of elderly parents from \u003cem>Dick Johnson is Dead\u003c/em>, but it may not be what Kirsten Johnson intended. \u003c/p>\n\u003cfigure id=\"attachment_13887082\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web.jpg\" alt=\"\" width=\"1300\" height=\"731\" class=\"size-full wp-image-13887082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/My-Name-is-Eftihia_Katia-Goulioni_web-768x432.jpg 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Katia Goulioni in ‘My Name is Eftihia.’ \u003ccite>(San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>San Francisco Greek Film Festival\u003c/b>\u003cbr>\nOct. 3–10\u003cbr>\n\u003ca href=\"https://grfilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">Online and drive-in\u003c/a>\u003c/p>\n\u003cp>Who knew the S.F. Greek Film Festival has been around for 17 years? Paradoxically, in the year of the pandemic, the fest is taking its light from under a bushel and reaching out to a broader audience. How? By making its program of streaming offerings completely free. The only paid event is the Oct. 4 drive-in screening of Jules Dassin’s wonderful 1964 caper comedy \u003cem>Topkapi\u003c/em> at Par 3 at Poplar Creek in San Mateo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The market for foreign films in the U.S. was shrinking long before the pandemic, and its hellishly difficult for Greek movies to find distribution. Even a slew of Hellenic Academy Awards (best feature film, actor, supporting actor, supporting actress, production design) wasn’t enough to land a U.S. buyer for \u003cem>My Name is Eftihia\u003c/em>. From that perspective, the S.F. Greek Film Festival’s presentation of Angelos Frantzis’ epic drama about the poet and lyricist Eftihia Papagianopoulou is something of a gift.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Scammer’s Daughter Questions the Family Business in ‘Kajillionaire’",
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"content": "\u003cp>Scammers fascinate us. In a world where those who do things the “right” way are so rarely rewarded for following the rules, there’s an appeal to the fraudulent approach.\u003c/p>\n\u003cp>I’ve only met a few scammers, but I think back on the audacity of their claims with a certain amount of awe: people who pretended to be enrolled in a school they no longer attended; people who lied about their relationships, their jobs, their bank balances. The most unnerving scams are the ones that seem to eschew money, sapping a victim’s time, attention and affection instead.\u003c/p>\n\u003cp>We try to understand, attracted by the scammer’s bravado and repulsed by the feeling we could just as easily fall prey. \u003ci>Who could do that?\u003c/i> we ask ourselves. \u003ci>And why?\u003c/i>\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://www.focusfeatures.com/kajillionaire\" rel=\"noopener noreferrer\" target=\"_blank\">Kajillionaire\u003c/a>\u003c/i>, Miranda July’s newest film, the motivations behind the scamming are clear, even if their origins are not. A family of Los Angeles grifters float through life on various skims to simply get by. They’ve developed a repertoire of sometimes very complicated methodologies to make a few bucks here and there, perfectly illustrated in the film’s candy-colored opening scene.\u003c/p>\n\u003cfigure id=\"attachment_13887043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200.jpg\" alt='Three people bend to hide below a low wall outside a green building with a sign that says \"Bubbles, Inc.\"' width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Evan Rachel Wood, Debra Winger and Richard Jenkins hide from their landlord in ‘Kajillionaire.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert (Richard Jenkins), Theresa (Debra Winger) and Old Dolio (a deep-voiced, androgynous Evan Rachel Wood) wait outside a post office for a window of opportunity. Theresa’s “now!” launches Old Dolio into a parkour-like approach to the post office’s front door, jumping, rolling and crouching to avoid the watchful eyes of cameras and workers. The elaborate entrance allows her to reach through a post office box and grab at whatever fills the nearby slots—ultimately, not much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their small-scale schemes get put to the test when their landlord tearily demands back rent. Their “apartment,” a cubicle-filled office space that shares a wall with a bubble factory, routinely suffers an overflow of pink foam that must be scooped off the wall and dumped down a drain in order to be semi-liveable. (This is just one of several surrealist details that makes \u003ci>Kajillionaire\u003c/i> delightfully weird or annoyingly twee, depending on how apt you are to love all things Miranda July.)\u003c/p>\n\u003cp>The family’s relationship is affectionless and uneven, and domineering, conspiracy-prone Robert calls all the shots. An alternative, warmer way of being opens up to Old Dolio when the threesome becomes a foursome, joining forces with an optician’s assistant named Melanie (Gina Rodriguez). She’s everything Old Dolio is not: comfortable in her body, outgoing and chatty. But even gainfully employed, rent-paying Melanie feels the pull of the scam, proposing the family charm her lonely older patients into giving away their antiques.\u003c/p>\n\u003cfigure id=\"attachment_13887041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200.jpg\" alt=\"A woman in a white jacket and a woman in baggy clothes push a shopping cart next to a refrigerated display in a market.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gina Rodriguez and Evan Rachel Wood in ‘Kajillionaire.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overshadowing all of Robert, Theresa and Old Dolio’s activities—and perhaps reinforcing them—is the threat of “The Big One,” the earthquake that will flatten Los Angeles and make all human connection, all striving and playing by the rules ultimately pointless. Theirs is an apocalyptic mentality, cultish and closed off. Melanie’s relationship with her mother (love expressed through the obsessive purchase of things) is by turn exceedingly normal, and therefore completely alien to Old Dolio.\u003c/p>\n\u003cp>The latter half of \u003ci>Kajillionaire\u003c/i> builds on the inherent drama of the scam. As Old Dolio and Melanie grow closer, and we cheer on the former’s tentative exhibitions of human emotion and self-expression, we remain wary. Is this potential new relationship a lie? Is there an ongoing, large-scale and perhaps lifelong scam in the works?\u003c/p>\n\u003cp>The world July creates for her characters is drenched in sunlight but tinged with fatalism. The Big One looms. In one scene, while stealing from a man on his deathbed, the family enacts the sounds of a busy household to fulfill his last wish. The playacting is crushing for Old Dolio, who sees what might have been if her parents had not opted for their cold, transactional version of family.\u003c/p>\n\u003cp>“Most people want to be kajillionaires, that’s the dream,” Robert says early in the film, laying out his philosophy of low-stakes scams. “That’s how they get you hooked, hooked on sugar, hooked on caffeine.” In opting out of the scam that is the American system—or so Robert might frame it—Old Dolio realizes they’ve also managed to empty their lives of the sweetest, freest thing: love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kajillionaire’ is now playing at select theaters, including the Fairfax Theatre. \u003ca href=\"http://kajillionairetickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scammers fascinate us. In a world where those who do things the “right” way are so rarely rewarded for following the rules, there’s an appeal to the fraudulent approach.\u003c/p>\n\u003cp>I’ve only met a few scammers, but I think back on the audacity of their claims with a certain amount of awe: people who pretended to be enrolled in a school they no longer attended; people who lied about their relationships, their jobs, their bank balances. The most unnerving scams are the ones that seem to eschew money, sapping a victim’s time, attention and affection instead.\u003c/p>\n\u003cp>We try to understand, attracted by the scammer’s bravado and repulsed by the feeling we could just as easily fall prey. \u003ci>Who could do that?\u003c/i> we ask ourselves. \u003ci>And why?\u003c/i>\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://www.focusfeatures.com/kajillionaire\" rel=\"noopener noreferrer\" target=\"_blank\">Kajillionaire\u003c/a>\u003c/i>, Miranda July’s newest film, the motivations behind the scamming are clear, even if their origins are not. A family of Los Angeles grifters float through life on various skims to simply get by. They’ve developed a repertoire of sometimes very complicated methodologies to make a few bucks here and there, perfectly illustrated in the film’s candy-colored opening scene.\u003c/p>\n\u003cfigure id=\"attachment_13887043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200.jpg\" alt='Three people bend to hide below a low wall outside a green building with a sign that says \"Bubbles, Inc.\"' width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D028_05612_RC_rgb_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Evan Rachel Wood, Debra Winger and Richard Jenkins hide from their landlord in ‘Kajillionaire.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert (Richard Jenkins), Theresa (Debra Winger) and Old Dolio (a deep-voiced, androgynous Evan Rachel Wood) wait outside a post office for a window of opportunity. Theresa’s “now!” launches Old Dolio into a parkour-like approach to the post office’s front door, jumping, rolling and crouching to avoid the watchful eyes of cameras and workers. The elaborate entrance allows her to reach through a post office box and grab at whatever fills the nearby slots—ultimately, not much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their small-scale schemes get put to the test when their landlord tearily demands back rent. Their “apartment,” a cubicle-filled office space that shares a wall with a bubble factory, routinely suffers an overflow of pink foam that must be scooped off the wall and dumped down a drain in order to be semi-liveable. (This is just one of several surrealist details that makes \u003ci>Kajillionaire\u003c/i> delightfully weird or annoyingly twee, depending on how apt you are to love all things Miranda July.)\u003c/p>\n\u003cp>The family’s relationship is affectionless and uneven, and domineering, conspiracy-prone Robert calls all the shots. An alternative, warmer way of being opens up to Old Dolio when the threesome becomes a foursome, joining forces with an optician’s assistant named Melanie (Gina Rodriguez). She’s everything Old Dolio is not: comfortable in her body, outgoing and chatty. But even gainfully employed, rent-paying Melanie feels the pull of the scam, proposing the family charm her lonely older patients into giving away their antiques.\u003c/p>\n\u003cfigure id=\"attachment_13887041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200.jpg\" alt=\"A woman in a white jacket and a woman in baggy clothes push a shopping cart next to a refrigerated display in a market.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/kajillionaire-4169_D014_02553_R_rgb_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Gina Rodriguez and Evan Rachel Wood in ‘Kajillionaire.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Overshadowing all of Robert, Theresa and Old Dolio’s activities—and perhaps reinforcing them—is the threat of “The Big One,” the earthquake that will flatten Los Angeles and make all human connection, all striving and playing by the rules ultimately pointless. Theirs is an apocalyptic mentality, cultish and closed off. Melanie’s relationship with her mother (love expressed through the obsessive purchase of things) is by turn exceedingly normal, and therefore completely alien to Old Dolio.\u003c/p>\n\u003cp>The latter half of \u003ci>Kajillionaire\u003c/i> builds on the inherent drama of the scam. As Old Dolio and Melanie grow closer, and we cheer on the former’s tentative exhibitions of human emotion and self-expression, we remain wary. Is this potential new relationship a lie? Is there an ongoing, large-scale and perhaps lifelong scam in the works?\u003c/p>\n\u003cp>The world July creates for her characters is drenched in sunlight but tinged with fatalism. The Big One looms. In one scene, while stealing from a man on his deathbed, the family enacts the sounds of a busy household to fulfill his last wish. The playacting is crushing for Old Dolio, who sees what might have been if her parents had not opted for their cold, transactional version of family.\u003c/p>\n\u003cp>“Most people want to be kajillionaires, that’s the dream,” Robert says early in the film, laying out his philosophy of low-stakes scams. “That’s how they get you hooked, hooked on sugar, hooked on caffeine.” In opting out of the scam that is the American system—or so Robert might frame it—Old Dolio realizes they’ve also managed to empty their lives of the sweetest, freest thing: love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kajillionaire’ is now playing at select theaters, including the Fairfax Theatre. \u003ca href=\"http://kajillionairetickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Lively 'Enola Holmes,' Sherlock's Little Sister Goes Sleuthing",
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"content": "\u003cp>“Plucky” is one of those words that doesn’t get out and about much anymore.\u003c/p>\n\u003cp>Something about it feels off, a bit—regressive, condescending, even vaguely sexist, as it’s usually only seen in the company of the word “heroine” these days.\u003c/p>\n\u003cp>But I’m gonna dust it off and use it here, because there’s just no getting around it—”plucky,” after all, means “spirited, determined and courageous, especially when things are looking grim” and 16-year-old Enola Holmes (as played by Millie Bobby Brown, who’s also—tellingly, I think—one of the film’s producers) is \u003cem>precisely \u003c/em>that. She is pluckiness made flesh. Pluck incarnate.\u003c/p>\n\u003cp>The bright, breezy Netflix film \u003cem>Enola Holmes\u003c/em>, which is based on a series of YA novels by Nancy Springer, benefits hugely from Brown’s lively, intelligent and charming performance. She’s so good here that even the character’s tendency to turn to the camera and address the audience—which she does a great deal (seriously, this film has more asides than an adodecahedron)—never gets wearying. You even start to find yourself looking forward to them, if you can imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1d0Zf9sXlHk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot: Enola awakens on her 16th birthday (she was 14 in the novel) to discover that her mother (Helena Bonham Carter)—an eccentric but brilliant thinker and suffragist—is missing. Following clues involving anagrams and cyphers, she sets off to London to find her, all while attempting to evade her older brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill), who are seeking to cart Enola off to a finishing school.\u003c/p>\n\u003cp>Do I need to tell you that the dour, prim head of the finishing school in question is played by Fiona Shaw? Or that Burn Gorman shows up as a villainous thug, forever lurking in doorways? I don’t, right? You guessed all that right away, yes?\u003c/p>\n\u003cp>The script is witty, the cast slightly more diverse than you’re likely expecting, and there are fun references to canonical Holmes elements throughout. True, this is a lighter and frothier take on Victorian England than we’re used to seeing, though it does flirt with some darker themes involving the mother’s fate that threaten to throw off the film’s tonal balance. And speaking of flirting — a romantic subplot involving a young marquess (Louis Partridge), who looks like what you’d get if Victorian farmers had grown boy bands out on the heath, generates neither heat nor sparks, and comes off as one of the film’s more formulaic YA components.\u003c/p>\n\u003cp>And I’m honestly puzzled by Cavill’s performance as Sherlock here, which, while it may comport with the books’ portrayal, feels wildly out-of-step with past interpretations of Arthur Conan Doyle’s hero. O.G. Sherlock is, after all, cold, shrewd, impatient and famously tetchy. Cavill, in stark contrast, is ridiculously warm and empathetic, even tender; the ultimate effect feels less like a radical re-interpretation and more like a clumsy mis-interpretation. (Plus there’s the small but telling fact that when classic Sherlock roamed the streets of London, he did so without bulging out of his tweed frock coat, as Cavill does. He could also put his arms down at his sides, as Cavill cannot.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are six books in the\u003cem> Enola Holmes Mysteries\u003c/em> series, and the film plants several seeds that will only come to fruition should a sequel or two happen. Here’s hoping they do, because the world of this film is a pleasure to disappear into, and in Enola, Brown has found a role to which she seems perfectly—even uncannily—matched.\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=In+The+Lively+%27Enola+Holmes%2C%27+Sherlock%27s+Little+Sister+Goes+Sleuthing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Plucky” is one of those words that doesn’t get out and about much anymore.\u003c/p>\n\u003cp>Something about it feels off, a bit—regressive, condescending, even vaguely sexist, as it’s usually only seen in the company of the word “heroine” these days.\u003c/p>\n\u003cp>But I’m gonna dust it off and use it here, because there’s just no getting around it—”plucky,” after all, means “spirited, determined and courageous, especially when things are looking grim” and 16-year-old Enola Holmes (as played by Millie Bobby Brown, who’s also—tellingly, I think—one of the film’s producers) is \u003cem>precisely \u003c/em>that. She is pluckiness made flesh. Pluck incarnate.\u003c/p>\n\u003cp>The bright, breezy Netflix film \u003cem>Enola Holmes\u003c/em>, which is based on a series of YA novels by Nancy Springer, benefits hugely from Brown’s lively, intelligent and charming performance. She’s so good here that even the character’s tendency to turn to the camera and address the audience—which she does a great deal (seriously, this film has more asides than an adodecahedron)—never gets wearying. You even start to find yourself looking forward to them, if you can imagine.\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/1d0Zf9sXlHk'\n title='//www.youtube.com/embed/1d0Zf9sXlHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plot: Enola awakens on her 16th birthday (she was 14 in the novel) to discover that her mother (Helena Bonham Carter)—an eccentric but brilliant thinker and suffragist—is missing. Following clues involving anagrams and cyphers, she sets off to London to find her, all while attempting to evade her older brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill), who are seeking to cart Enola off to a finishing school.\u003c/p>\n\u003cp>Do I need to tell you that the dour, prim head of the finishing school in question is played by Fiona Shaw? Or that Burn Gorman shows up as a villainous thug, forever lurking in doorways? I don’t, right? You guessed all that right away, yes?\u003c/p>\n\u003cp>The script is witty, the cast slightly more diverse than you’re likely expecting, and there are fun references to canonical Holmes elements throughout. True, this is a lighter and frothier take on Victorian England than we’re used to seeing, though it does flirt with some darker themes involving the mother’s fate that threaten to throw off the film’s tonal balance. And speaking of flirting — a romantic subplot involving a young marquess (Louis Partridge), who looks like what you’d get if Victorian farmers had grown boy bands out on the heath, generates neither heat nor sparks, and comes off as one of the film’s more formulaic YA components.\u003c/p>\n\u003cp>And I’m honestly puzzled by Cavill’s performance as Sherlock here, which, while it may comport with the books’ portrayal, feels wildly out-of-step with past interpretations of Arthur Conan Doyle’s hero. O.G. Sherlock is, after all, cold, shrewd, impatient and famously tetchy. Cavill, in stark contrast, is ridiculously warm and empathetic, even tender; the ultimate effect feels less like a radical re-interpretation and more like a clumsy mis-interpretation. (Plus there’s the small but telling fact that when classic Sherlock roamed the streets of London, he did so without bulging out of his tweed frock coat, as Cavill does. He could also put his arms down at his sides, as Cavill cannot.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are six books in the\u003cem> Enola Holmes Mysteries\u003c/em> series, and the film plants several seeds that will only come to fruition should a sequel or two happen. Here’s hoping they do, because the world of this film is a pleasure to disappear into, and in Enola, Brown has found a role to which she seems perfectly—even uncannily—matched.\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=In+The+Lively+%27Enola+Holmes%2C%27+Sherlock%27s+Little+Sister+Goes+Sleuthing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Journalism and Activism Light up the Home Screen",
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"content": "\u003cp>Fall is usually the serious season in the movie business—as in serious themes, not serious money. The big dollars won’t roll in till Halloween horror week and Christmas escapist week, and potentially for a few Oscar wannabes. Barring, that is, an escalated public-health crisis and civil society catastrophe. But we can be optimistic, right?\u003c/p>\n\u003cp>While Hollywood waits, watches and worries about the state of moviegoing, serious documentaries are everywhere. It’s an election-year phenomenon, to be sure: Filmmakers are determined to not just inform people about a social issue, but to drive us to vote. The slender lines between journalism and activism, and activism and diatribes, are in plain sight.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Social Dilemma\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.netflix.com/title/81254224\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a> \u003c/p>\n\u003cp>Jeff Orlowski (\u003cem>Chasing Ice\u003c/em>, \u003cem>Chasing Coral\u003c/em>) constructed his environmental documentaries on breathtaking, globe-hopping visuals, so it’s quite a come-down to be stuck in stark, unfurnished rooms with a parade of earnest talking heads. \u003cem>The Social Dilemma\u003c/em>, which lifts the curtain on the various curses of social media, is especially annoying for those of us who were bored to numbness 20 years ago (or more) by the “wisdom” and “vision” of tech boy wonders with bad haircuts.\u003c/p>\n\u003cp>The filmmaker rounds up a retinue of former executives and high-level engineers from the usual suspect companies who’ve seen the light—actually, the darkness—of algorithmic persuasion, behavioral manipulation, smartphone addiction and adolescent maladjustment. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These successful, smug men (the Greek chorus does include one female techie and a couple female professors, who only serve to underline Silicon Valley’s homogeneity), who profited enormously from the rise of Facebook, Google, Twitter, Pinterest and others, sound the alarm on platforms and devices. Surely it’s coincidental that the mavens now have children whose access to platforms and devices they carefully manage and restrict.\u003c/p>\n\u003cp>As a respite from the parade of interviews, Orlowski intersperses the hokey but effective drama of an imaginary suburban family whose youngest, impressionable members are mesmerized by the beeps, buzzes and likes emitted by their smartphones. \u003cem>The Social Dilemma\u003c/em> makes some valuable points, but Orlowski seems oblivious to a major contradiction: His cautionary immersion in the psychology of manipulation employs a wall-to-wall soundtrack to keep the viewer on edge. \u003c/p>\n\u003cp>Oh, and if you’re wondering, the haircuts haven’t improved since 1995.\u003c/p>\n\u003cfigure id=\"attachment_13886719\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"499\" class=\"size-full wp-image-13886719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-768x319.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Abrams in ‘All In: The Fight For Democracy.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>All In: The Fight for Democracy\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.amazon.com/dp/B08FRSNBLL\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>It can be hard to discern if the numerous political documentaries released in recent weeks are aimed at the hardcore base of informed newsies or the broader population that sees the effects of policies but isn’t interested in the behind-the-scenes battles. Liz Garbus and Lisa Cortés’s documentary about the organized efforts to suppress votes going back to the end of Reconstruction skillfully speaks to both groups.\u003c/p>\n\u003cp>Stacey Abrams, who would have won the election for governor of Georgia two years ago except for her Republican opponent’s multi-pronged strategy to screw hundreds of thousands of voters out of their rights, is our clear-eyed guide through this illuminating, infuriating doc. But author and historian Carol Anderson steals the show as the film’s righteous, impassioned conscience.\u003c/p>\n\u003cp>The Abrams campaign and the theft of that election in broad daylight comprise the emotional climax of \u003cem>All In\u003c/em>. The film’s centerpiece, however, which Garbus and Cortés spotlight with a megawatt bulb, is the Roberts Court’s 2013 gutting of the long-standing Voting Rights Act. A must-see, but keep your blood-pressure medicine nearby.\u003c/p>\n\u003cfigure id=\"attachment_13886720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Morrison in ‘Miracle in the Desert.’ \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em>\u003c/b>\u003cbr>\nOpens Sept 22 on \u003ca href=\"https://www.miracleinthedesert.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>As a transplant from another state, I discovered California’s largest lake from \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>, Chris Metzler and Jeff Springer’s wildly entertaining tale of the boom and bust of a mid-20th-century SoCal leisure spot. They hung out with the forgotten holdovers, beach rats and off-the-grid survivors who stayed in their homes long after the world passed by.\u003c/p>\n\u003cp>Fifteen years on, Greg Bassenian takes a much more sober approach to the same territory. \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> contains the same footage of 1950s water skiers and the snazzy yacht club where Sinatra and other celebrities from Los Angeles (150 miles northwest of the sea) and Palm Springs (30 miles) hung out, but its real concern is ecological and environmental.\u003c/p>\n\u003cp>The Salton Sea keeps shrinking, which means more of the lakebed is exposed, more dust is launched into the air and the public health consequences continue to increase. Bassenian builds a persuasive case for California’s immediate adoption and funding of a plan to increase the sea’s water level, then slides into a sustained harangue for the last 10 minutes of the film. To be fair, his various interviewees’ frustration with the state’s prolonged inaction is completely understandable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The current problem and its solution should rightly command our attention. But I took a second moral from Bassenian’s detailed chronicle of the sea’s origins and evolution, which amounts to a catalog of hubris, corruption, unintended consequences and natural disasters: Man has a way of mucking things up. You guessed it: \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> doesn’t leave you feeling optimistic.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually the serious season in the movie business—as in serious themes, not serious money. The big dollars won’t roll in till Halloween horror week and Christmas escapist week, and potentially for a few Oscar wannabes. Barring, that is, an escalated public-health crisis and civil society catastrophe. But we can be optimistic, right?\u003c/p>\n\u003cp>While Hollywood waits, watches and worries about the state of moviegoing, serious documentaries are everywhere. It’s an election-year phenomenon, to be sure: Filmmakers are determined to not just inform people about a social issue, but to drive us to vote. The slender lines between journalism and activism, and activism and diatribes, are in plain sight.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Social Dilemma\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.netflix.com/title/81254224\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a> \u003c/p>\n\u003cp>Jeff Orlowski (\u003cem>Chasing Ice\u003c/em>, \u003cem>Chasing Coral\u003c/em>) constructed his environmental documentaries on breathtaking, globe-hopping visuals, so it’s quite a come-down to be stuck in stark, unfurnished rooms with a parade of earnest talking heads. \u003cem>The Social Dilemma\u003c/em>, which lifts the curtain on the various curses of social media, is especially annoying for those of us who were bored to numbness 20 years ago (or more) by the “wisdom” and “vision” of tech boy wonders with bad haircuts.\u003c/p>\n\u003cp>The filmmaker rounds up a retinue of former executives and high-level engineers from the usual suspect companies who’ve seen the light—actually, the darkness—of algorithmic persuasion, behavioral manipulation, smartphone addiction and adolescent maladjustment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These successful, smug men (the Greek chorus does include one female techie and a couple female professors, who only serve to underline Silicon Valley’s homogeneity), who profited enormously from the rise of Facebook, Google, Twitter, Pinterest and others, sound the alarm on platforms and devices. Surely it’s coincidental that the mavens now have children whose access to platforms and devices they carefully manage and restrict.\u003c/p>\n\u003cp>As a respite from the parade of interviews, Orlowski intersperses the hokey but effective drama of an imaginary suburban family whose youngest, impressionable members are mesmerized by the beeps, buzzes and likes emitted by their smartphones. \u003cem>The Social Dilemma\u003c/em> makes some valuable points, but Orlowski seems oblivious to a major contradiction: His cautionary immersion in the psychology of manipulation employs a wall-to-wall soundtrack to keep the viewer on edge. \u003c/p>\n\u003cp>Oh, and if you’re wondering, the haircuts haven’t improved since 1995.\u003c/p>\n\u003cfigure id=\"attachment_13886719\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg\" alt=\"\" width=\"1200\" height=\"499\" class=\"size-full wp-image-13886719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/all-in-the-fight-for-democracy-UVSD_SG_00210_rgb_1200-768x319.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Stacey Abrams in ‘All In: The Fight For Democracy.’ \u003ccite>(Courtesy of Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>All In: The Fight for Democracy\u003c/em>\u003c/b>\u003cbr>\nStreaming on \u003ca href=\"https://www.amazon.com/dp/B08FRSNBLL\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003c/p>\n\u003cp>It can be hard to discern if the numerous political documentaries released in recent weeks are aimed at the hardcore base of informed newsies or the broader population that sees the effects of policies but isn’t interested in the behind-the-scenes battles. Liz Garbus and Lisa Cortés’s documentary about the organized efforts to suppress votes going back to the end of Reconstruction skillfully speaks to both groups.\u003c/p>\n\u003cp>Stacey Abrams, who would have won the election for governor of Georgia two years ago except for her Republican opponent’s multi-pronged strategy to screw hundreds of thousands of voters out of their rights, is our clear-eyed guide through this illuminating, infuriating doc. But author and historian Carol Anderson steals the show as the film’s righteous, impassioned conscience.\u003c/p>\n\u003cp>The Abrams campaign and the theft of that election in broad daylight comprise the emotional climax of \u003cem>All In\u003c/em>. The film’s centerpiece, however, which Garbus and Cortés spotlight with a megawatt bulb, is the Roberts Court’s 2013 gutting of the long-standing Voting Rights Act. A must-see, but keep your blood-pressure medicine nearby.\u003c/p>\n\u003cfigure id=\"attachment_13886720\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Kerry-Morrison-Desert-Shores_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Morrison in ‘Miracle in the Desert.’ \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em>\u003c/b>\u003cbr>\nOpens Sept 22 on \u003ca href=\"https://www.miracleinthedesert.com\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>As a transplant from another state, I discovered California’s largest lake from \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>, Chris Metzler and Jeff Springer’s wildly entertaining tale of the boom and bust of a mid-20th-century SoCal leisure spot. They hung out with the forgotten holdovers, beach rats and off-the-grid survivors who stayed in their homes long after the world passed by.\u003c/p>\n\u003cp>Fifteen years on, Greg Bassenian takes a much more sober approach to the same territory. \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> contains the same footage of 1950s water skiers and the snazzy yacht club where Sinatra and other celebrities from Los Angeles (150 miles northwest of the sea) and Palm Springs (30 miles) hung out, but its real concern is ecological and environmental.\u003c/p>\n\u003cp>The Salton Sea keeps shrinking, which means more of the lakebed is exposed, more dust is launched into the air and the public health consequences continue to increase. Bassenian builds a persuasive case for California’s immediate adoption and funding of a plan to increase the sea’s water level, then slides into a sustained harangue for the last 10 minutes of the film. To be fair, his various interviewees’ frustration with the state’s prolonged inaction is completely understandable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The current problem and its solution should rightly command our attention. But I took a second moral from Bassenian’s detailed chronicle of the sea’s origins and evolution, which amounts to a catalog of hubris, corruption, unintended consequences and natural disasters: Man has a way of mucking things up. You guessed it: \u003cem>Miracle in the Desert: The Rise and Fall of the Salton Sea\u003c/em> doesn’t leave you feeling optimistic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From 'SNL' to Workout Videos, How RBG Became a Pop Culture Icon",
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"content": "\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aY8A2cpK6tg\u003c/p>\n\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0oBodJHX1Vg\u003c/p>\n\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=biIRlcQqmOc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\u003c/a>.\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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\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/aY8A2cpK6tg'\n title='//www.youtube.com/embed/aY8A2cpK6tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0oBodJHX1Vg'\n title='//www.youtube.com/embed/0oBodJHX1Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\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/biIRlcQqmOc'\n title='//www.youtube.com/embed/biIRlcQqmOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\u003c/a>.\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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Slimmed Down, Grown Up Frameline Dazzles the Eye",
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"content": "\u003cp>Coming out to join the crowd at the Castro for a hot-and-heavy Frameline screening—with every delectable connotation that suggests—is off the table this year. The \u003ca href=\"https://www.frameline.org\" rel=\"noopener noreferrer\" target=\"_blank\">44th San Francisco International LGBTQ+ Film Festival\u003c/a>, revamped and rescheduled from its perennial Pride Month residency, is entirely (with the exception of tonight’s drive-in opener, \u003cem>Shit & Champagne\u003c/em>) an online affair.\u003c/p>\n\u003cp>Making the scene to see and be seen is a thing of the past, and the TBD future.\u003c/p>\n\u003cp>When sheltering in place became the canon of the county, Frameline hustled to produce a condensed Pride Showcase in June that raised spirits and cash via an online and drive-in program. In the ensuing months, the model and mode of online festivals has become codified (for viewers as much as for presenters), with nearly all the films available to stream anytime during the festival. A specific viewing time is recommended, however, to coincide with the added feature of a live Zoom Q&A with the filmmakers.\u003c/p>\n\u003cp>Frameline (Sept. 17–27) is renowned, justifiably, for the delirious scope of its program: In a typical year you can find something about and for literally everyone across the fluid LGBTQ+ horizon. A few of those films are less than great, shall we say, but they honor Frameline’s mission to reflect on the big screen the breadth of the community. One of the challenges of moving online is the logistical necessity to pare a sprawling program down to a manageable level without sacrificing big-umbrella diversity.\u003c/p>\n\u003cfigure id=\"attachment_13886522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AliceJunior1_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13886522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Alice Júnior.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 30 features and six shorts program, plus the first season of the locally filmed episodic series \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/chosen-fam-season-1\" rel=\"noopener noreferrer\" target=\"_blank\">Chosen Fam\u003c/a>\u003c/em>, Frameline 44 is one trimmed-down festival. With the gyms closed for months and sedentary weight gain a pervasive issue, the festival is just about the only slimmed-down beast around. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The broad multitude of experiences encompassed by the festival is pretty well illustrated by the three Centerpiece films. The award-winning Brazilian coming-of-age romp \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/alice-jand250nior\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Júnior\u003c/a>\u003c/em> relocates its teenage trans protagonist, a burgeoning social-media and real-life star, to a Catholic school in the sticks. Where she triumphs, don’t you know. \u003c/p>\n\u003cp>The psychological thriller \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-glass-darkly\" rel=\"noopener noreferrer\" target=\"_blank\">Through the Glass Darkly\u003c/a>\u003c/em> follows a lesbian mom in small-town Georgia investigating the disappearance of young women—including her daughter. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/the-obituary-of-tunde-johnson\" rel=\"noopener noreferrer\" target=\"_blank\">The Obituary of Tunde Johnson\u003c/a>\u003c/em> takes on racism, homophobia and police brutality through the recurring-yet-never-identical nightmare of a Black teenager’s last day on earth.\u003c/p>\n\u003cfigure id=\"attachment_13886520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg\" alt=\"\" width=\"1200\" height=\"876\" class=\"size-full wp-image-13886520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-768x561.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘No Hard Feelings.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other standouts in the program include German-Iranian filmmaker Faraz Shariat’s feature debut, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/no-hard-feelings\" rel=\"noopener noreferrer\" target=\"_blank\">No Hard Feelings\u003c/a>\u003c/em>, which won the Teddy Award for best LGBT film at the Berlin Film Festival in February. The Hanover-born son of Iranian immigrants falls in (love) with an Iranian brother and sister seeking asylum and at risk of deportation. The characters’ struggles aren’t with racist xenophobes or uncomprehending parents but more profoundly with their individual senses of, and needs for, “homeland” and “home.”\u003c/p>\n\u003cp>Perhaps the most fascinating aspect of Filippo Meneghetti’s precisely composed and framed French drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/two-of-us\" rel=\"noopener noreferrer\" target=\"_blank\">Two of Us\u003c/a>\u003c/em> (only available Sept. 25–27) is how far viewers will go to sympathize with Nina, the fiercely obsessive half of an older lesbian couple. Across-the-hall neighbors, they’ve kept their love affair secret from Mado’s adult daughter—a gradually spiraling disaster when Mado has a health crisis. The scary-good (and just plain scary) Barbara Sukowa nails Nina at the crossroads of devoted lover and psycho stalker.\u003c/p>\n\u003cfigure id=\"attachment_13886519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/cicada2_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cicada.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York actor-writer-director Matthew Fifer’s looser approach to his resonant summer-set debut, \u003cem>Cicada\u003c/em>, revels in the spontaneity of the lovestruck leads Ben and Sam (Fifer and Sheldon D. Brown) and the unencumbered handheld camerawork. But all that freedom, down to their interracial relationship, eventually runs headfirst into their respective traumas and fears.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/cicada\" rel=\"noopener noreferrer\" target=\"_blank\">Cicada\u003c/a>\u003c/em> (co-directed by Kieran Mulcare) is set in 2013, when the pseudonymous insects reappeared on the 17-year dot and Penn State coach Jerry Sandusky’s litany of sexual abuses of boys were finally publicly exposed. The metaphor, especially as it relates to Ben’s childhood, is on the nose but still effective: You can bury the past, but not forever. And when it resurfaces, it won’t leave you alone—as if it ever did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 44, Frameline is assuredly not having a midlife crisis. Its COVID-19 crisis, though, will persist through next year’s festival. Regardless of where we are with the virus, I expect the 2021 festival to be a similarly streamlined affair. The pandemic has put a global kibosh on filmmaking, and it’s anyone’s guess how many new films, let alone excellent ones, will be available to screen come June. One more reason, if you needed one, to immerse yourself in the 2020 program.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coming out to join the crowd at the Castro for a hot-and-heavy Frameline screening—with every delectable connotation that suggests—is off the table this year. The \u003ca href=\"https://www.frameline.org\" rel=\"noopener noreferrer\" target=\"_blank\">44th San Francisco International LGBTQ+ Film Festival\u003c/a>, revamped and rescheduled from its perennial Pride Month residency, is entirely (with the exception of tonight’s drive-in opener, \u003cem>Shit & Champagne\u003c/em>) an online affair.\u003c/p>\n\u003cp>Making the scene to see and be seen is a thing of the past, and the TBD future.\u003c/p>\n\u003cp>When sheltering in place became the canon of the county, Frameline hustled to produce a condensed Pride Showcase in June that raised spirits and cash via an online and drive-in program. In the ensuing months, the model and mode of online festivals has become codified (for viewers as much as for presenters), with nearly all the films available to stream anytime during the festival. A specific viewing time is recommended, however, to coincide with the added feature of a live Zoom Q&A with the filmmakers.\u003c/p>\n\u003cp>Frameline (Sept. 17–27) is renowned, justifiably, for the delirious scope of its program: In a typical year you can find something about and for literally everyone across the fluid LGBTQ+ horizon. A few of those films are less than great, shall we say, but they honor Frameline’s mission to reflect on the big screen the breadth of the community. One of the challenges of moving online is the logistical necessity to pare a sprawling program down to a manageable level without sacrificing big-umbrella diversity.\u003c/p>\n\u003cfigure id=\"attachment_13886522\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AliceJunior1_1200.jpg\" alt=\"\" width=\"1200\" height=\"750\" class=\"size-full wp-image-13886522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AliceJunior1_1200-768x480.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Alice Júnior.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 30 features and six shorts program, plus the first season of the locally filmed episodic series \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/chosen-fam-season-1\" rel=\"noopener noreferrer\" target=\"_blank\">Chosen Fam\u003c/a>\u003c/em>, Frameline 44 is one trimmed-down festival. With the gyms closed for months and sedentary weight gain a pervasive issue, the festival is just about the only slimmed-down beast around. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The broad multitude of experiences encompassed by the festival is pretty well illustrated by the three Centerpiece films. The award-winning Brazilian coming-of-age romp \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/alice-jand250nior\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Júnior\u003c/a>\u003c/em> relocates its teenage trans protagonist, a burgeoning social-media and real-life star, to a Catholic school in the sticks. Where she triumphs, don’t you know. \u003c/p>\n\u003cp>The psychological thriller \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-glass-darkly\" rel=\"noopener noreferrer\" target=\"_blank\">Through the Glass Darkly\u003c/a>\u003c/em> follows a lesbian mom in small-town Georgia investigating the disappearance of young women—including her daughter. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/the-obituary-of-tunde-johnson\" rel=\"noopener noreferrer\" target=\"_blank\">The Obituary of Tunde Johnson\u003c/a>\u003c/em> takes on racism, homophobia and police brutality through the recurring-yet-never-identical nightmare of a Black teenager’s last day on earth.\u003c/p>\n\u003cfigure id=\"attachment_13886520\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg\" alt=\"\" width=\"1200\" height=\"876\" class=\"size-full wp-image-13886520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/nohardfeelings3_1200-768x561.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘No Hard Feelings.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other standouts in the program include German-Iranian filmmaker Faraz Shariat’s feature debut, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/no-hard-feelings\" rel=\"noopener noreferrer\" target=\"_blank\">No Hard Feelings\u003c/a>\u003c/em>, which won the Teddy Award for best LGBT film at the Berlin Film Festival in February. The Hanover-born son of Iranian immigrants falls in (love) with an Iranian brother and sister seeking asylum and at risk of deportation. The characters’ struggles aren’t with racist xenophobes or uncomprehending parents but more profoundly with their individual senses of, and needs for, “homeland” and “home.”\u003c/p>\n\u003cp>Perhaps the most fascinating aspect of Filippo Meneghetti’s precisely composed and framed French drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/two-of-us\" rel=\"noopener noreferrer\" target=\"_blank\">Two of Us\u003c/a>\u003c/em> (only available Sept. 25–27) is how far viewers will go to sympathize with Nina, the fiercely obsessive half of an older lesbian couple. Across-the-hall neighbors, they’ve kept their love affair secret from Mado’s adult daughter—a gradually spiraling disaster when Mado has a health crisis. The scary-good (and just plain scary) Barbara Sukowa nails Nina at the crossroads of devoted lover and psycho stalker.\u003c/p>\n\u003cfigure id=\"attachment_13886519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/cicada2_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13886519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/cicada2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cicada.’ \u003ccite>(Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New York actor-writer-director Matthew Fifer’s looser approach to his resonant summer-set debut, \u003cem>Cicada\u003c/em>, revels in the spontaneity of the lovestruck leads Ben and Sam (Fifer and Sheldon D. Brown) and the unencumbered handheld camerawork. But all that freedom, down to their interracial relationship, eventually runs headfirst into their respective traumas and fears.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/cicada\" rel=\"noopener noreferrer\" target=\"_blank\">Cicada\u003c/a>\u003c/em> (co-directed by Kieran Mulcare) is set in 2013, when the pseudonymous insects reappeared on the 17-year dot and Penn State coach Jerry Sandusky’s litany of sexual abuses of boys were finally publicly exposed. The metaphor, especially as it relates to Ben’s childhood, is on the nose but still effective: You can bury the past, but not forever. And when it resurfaces, it won’t leave you alone—as if it ever did.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At 44, Frameline is assuredly not having a midlife crisis. Its COVID-19 crisis, though, will persist through next year’s festival. Regardless of where we are with the virus, I expect the 2021 festival to be a similarly streamlined affair. The pandemic has put a global kibosh on filmmaking, and it’s anyone’s guess how many new films, let alone excellent ones, will be available to screen come June. One more reason, if you needed one, to immerse yourself in the 2020 program.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "As Some Bay Area Movie Theaters Reopen, Local Authorities Exercise Caution",
"headTitle": "As Some Bay Area Movie Theaters Reopen, Local Authorities Exercise Caution | KQED",
"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>\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. 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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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