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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Avengers’ and ‘Game of Thrones’ Star Diana Rigg Dies at 82",
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"content": "\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diana Rigg, a commanding British actress whose career stretched from iconic 1960s spy series \u003cem>The Avengers\u003c/em> to fantasy juggernaut \u003cem>Game of Thrones\u003c/em>, has died. She was 82.\u003c/p>\n\u003cp>Rigg’s agent, Simon Beresford, said she died Thursday morning at home with her family. Daughter Rachael Stirling said she died of cancer that was diagnosed in March.\u003c/p>\n\u003cp>Rigg “spent her last months joyfully reflecting on her extraordinary life, full of love, laughter and a deep pride in her profession. I will miss her beyond words,” Stirling said.\u003c/p>\n\u003cp>Rigg starred in \u003cem>The Avengers\u003c/em> as secret agent Emma Peel alongside Patrick McNee’s bowler-hatted John Steed. The pair were an impeccably dressed duo who fought villains and traded quips in a show whose mix of adventure and humor was enduringly influential.\u003c/p>\n\u003cfigure id=\"attachment_13886129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png\" alt=\"Diana Rigg starred as Emma Peel in 'The Avengers' between 1961 and 1969.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-11.58.07-AM-768x511.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg starred as Emma Peel in ‘The Avengers’ between 1961 and 1969.\u003c/figcaption>\u003c/figure>\n\u003cp>Rigg also starred in 1969 James Bond thriller \u003cem>On Her Majesty’s Secret Service\u003c/em> as Tracy di Vicenzo, the only woman ever to marry, albeit briefly, Agent 007. Bond producers Michael G Wilson and Barbara Broccoli said Rigg was “much beloved by Bond fans for her memorable performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Lazenby, who made his only appearance as Bond in the film, said on Instagram that he was “so sad to hear of the death of Diana Rigg. She undoubtedly raised my acting game when we made \u003cem>On Her Majesty’s Secret Service\u003c/em> together in 1968-9.”\u003c/p>\n\u003cp>In later life, she played Olenna Tyrell—the formidable “Queen of Thorns”—in \u003cem>Game of Thrones\u003c/em>, receiving an Emmy Award nomination for the role.\u003c/p>\n\u003cfigure id=\"attachment_13886131\" class=\"wp-caption aligncenter\" style=\"max-width: 694px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png\" alt=\"Diana Rigg as Olenna Tyrell in 'Game of Thrones.'\" width=\"694\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM.png 694w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-10-at-12.00.03-PM-160x94.png 160w\" sizes=\"(max-width: 694px) 100vw, 694px\">\u003cfigcaption class=\"wp-caption-text\">Diana Rigg as Olenna Tyrell in ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other television roles included the Duchess of Buccleuch in period drama \u003cem>Victoria\u003c/em>, and Rigg starred alongside her daughter in the gentle British sitcom \u003cem>Detectorists\u003c/em>.\u003c/p>\n\u003cp>Rigg spent several years in the 1960s as a member of the Royal Shakespeare Company, and combined screen work with a major stage career, in plays including William Shakespeare’s \u003cem>Macbeth\u003c/em>, Bertolt Brecht’s \u003cem>Mother Courage\u003c/em> and Tom Stoppard’s \u003cem>Jumpers\u003c/em> at the National Theatre in London.\u003c/p>\n\u003cp>She had several acclaimed roles in the 1990s at London’s Almeida Theatre, including Martha in \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and the title role in Greek tragedy \u003cem>Medea\u003c/em>.\u003c/p>\n\u003cp>Rigg won a Tony Award for \u003cem>Medea\u003c/em> on Broadway, and was nominated on three other occasions—most recently in 2018 for playing Mrs. Higgins in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cp>Jonathan Kent, who directed Rigg in some of her great stage roles, said her “combination of force of personality, beauty, courage and sheer emotional power made her a great classical actress—one of an astonishing generation of British stage performers.”\u003c/p>\n\u003cp>She never retired. One of Rigg’s final television roles was in rural veterinary drama \u003cem>All Creatures Great and Small\u003c/em>, which is currently running on British television.\u003c/p>\n\u003cp>Stoppard said Rigg was “the most beautiful woman in the room, but she was what used to be called a Trouper.”\u003c/p>\n\u003cp>“She went to work with her sleeves rolled up and a smile for everyone. Her talent was luminous.”\u003c/p>\n\u003cp>Rigg is survived by her daughter, son-in-law Guy Garvey—lead singer of the band Elbow—and a grandson.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Dystopian Movies Are Getting Us Through 2020",
"headTitle": "Why Dystopian Movies Are Getting Us Through 2020 | KQED",
"content": "\u003cp>References to Mars, hell and the apocalypse have all dominated Bay Area Twitter this week, as darkened skies and falling ash from wildfires cast a pall across the entire region. It didn’t take long for the jarring conditions to inspire some social media users to compare our red horizon to those from the big screen.\u003c/p>\n\u003cp>Like in \u003cem>Blade Runner 2049\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/MidShelfRyan/status/1303815520802791425\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/chrisavila_01/status/1303761170675970049\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/gabennett45/status/1303823879282933760\u003c/p>\n\u003cp>\u003cem>Lord of the Rings\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/B_W3T/status/1303781721519861765\u003c/p>\n\u003cp>And even \u003cem>Night of the Comet\u003c/em>:\u003c/p>\n\u003cp>https://twitter.com/leeleemar33/status/1303788492170952705\u003c/p>\n\u003cp>You may also have noticed friends and loved ones \u003cem>watching\u003c/em> these movies—turning to the more dystopian of them for escape. It’s a response that echoes the surge in people watching \u003cem>Contagion\u003c/em> at the start of this year’s coronavirus pandemic. Which raises the question: Why are some of us so compelled to run towards movies that mirror our own dire conditions, rather than ones that would temporarily help us forget them?\u003c/p>\n\u003cp>For a start, there’s a sense of control in inviting that which scares us into our living rooms. If we go out of our way to confront it on our own terms, the shock of what’s lurking outside may be lessened, while also making us feel stronger. As George A. Romero notes in 2014 documentary, \u003ca href=\"https://www.imdb.com/title/tt3135424/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Why Horror?\u003c/em>\u003c/a>: “It’s a safe fright when you’re in a movie. And I think that enables you to sort of relish it. To look into yourself and say ‘Why am I afraid of this?’” [aside postid='arts_13878619']\u003c/p>\n\u003cp>The book \u003ca href=\"https://www.goodreads.com/book/show/24945315-scream\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scream: Chilling Adventures in the Science of Fear\u003c/em>\u003c/a>, points out that human fear is rooted in the unfamiliar. “Humans have sophisticated systems of prediction,” Margee Kerr writes, “and when our predictions don’t match our experience, it raises a red flag and puts us in a state of uncertainty.”\u003c/p>\n\u003cp>Watching scary red skies in movies this week, then, might help imbue us with the sense that what we’re living through isn’t, in fact, brand new. Seeing other people, whether they’re fictional characters or not, calmly coping with similarly challenging environments can help make extraordinary conditions feel less strange.\u003c/p>\n\u003cfigure id=\"attachment_13886101\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Contagion.jpg\" alt=\"Just as in March, when quarantined home viewers nationwide streamed 'Contagion' (above) in record numbers, dystopian movies are having a surge in popularity for wildfire season.\" width=\"600\" height=\"397\" class=\"size-full wp-image-13886101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Just as in March, when quarantined home viewers nationwide streamed ‘Contagion’ (above) in record numbers, dystopian movies are experiencing a surge in popularity for wildfire season. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, watching movies about whatever we’re currently facing down can give us a sense of preparation. Maybe if we watch a fictional version of the thing we’re worried about, we’ll learn some useful coping strategies. “I’m probably a little more equipped to deal with death, disease [and] tragedy than other people,” Colin Geddes, a programmer at Toronto International Film Festival has \u003ca href=\"https://www.youtube.com/watch?v=URb0EDLHgjo\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>. “Because I’ve seen it played out and it makes me think about how I would react in these situations with these misfortunes.”\u003c/p>\n\u003cp>Back in March, a \u003ca href=\"https://www.vulture.com/2020/03/contagion-coronavirus-pandemic-fiction.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a> article exploring the rise in popularity of \u003cem>Contagion \u003c/em>echoed Geddes’ sentiments. “I watched it because this current pandemic crisis makes me terrified, and a story about exactly that same thing is one way to grapple with that fear,” wrote Kathryn VanArendonk. “Pandemic fiction is about how people behave in response to acute, sudden-onset helplessness. When we’re confronted with that helplessness in real life, watching some version of it—any version of it, and ideally one where at least some people survive—is comforting. It’s a model for how we could respond.” [aside postid='arts_13885930']\u003c/p>\n\u003cp>Incidentally,\u003cem> Contagion\u003c/em> wasn’t the only pandemic movie that surged in popularity in 2020. \u003cem>Outbreak\u003c/em> and \u003cem>12 Monkeys\u003c/em>—both eerily having their 25th anniversaries this year—have had a renaissance as well. (Which likely explains why the latter was snapped up from Netflix by HBO Max one month after shelter in place went into effect.)\u003c/p>\n\u003cp>What all of this means is: if you have the desire to watch dystopian fiction specifically because it feels like the end of the world right now, there’s absolutely nothing wrong with you. On the contrary, you might even be doing something useful for yourself.\u003c/p>\n\u003cp>So, by all means, as long as Bay Area skies are burning red and raining ash down on us, if you feel like running in the direction of \u003cem>The Martian\u003c/em>‘s poop potatoes, have at it. If you want to throw on a trenchcoat and wander around pretending to be a replicant, go right ahead. (Just put a mask on first.) And if the red sky looks better to you when you imagine the Eye of Sauron in it, well, carry on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If 2020 has taught us anything, it’s the importance of grabbing joy and relief wherever you can find it—even if it’s in a story as disturbing as our reality.\u003c/p>\n\n",
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"excerpt": "In March, we watched 'Contagion.' This week, the Bay Area is turning to the red skies of 'Blade Runner 2049' and 'The Martian.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>References to Mars, hell and the apocalypse have all dominated Bay Area Twitter this week, as darkened skies and falling ash from wildfires cast a pall across the entire region. It didn’t take long for the jarring conditions to inspire some social media users to compare our red horizon to those from the big screen.\u003c/p>\n\u003cp>Like in \u003cem>Blade Runner 2049\u003c/em>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Lord of the Rings\u003c/em>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And even \u003cem>Night of the Comet\u003c/em>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>You may also have noticed friends and loved ones \u003cem>watching\u003c/em> these movies—turning to the more dystopian of them for escape. It’s a response that echoes the surge in people watching \u003cem>Contagion\u003c/em> at the start of this year’s coronavirus pandemic. Which raises the question: Why are some of us so compelled to run towards movies that mirror our own dire conditions, rather than ones that would temporarily help us forget them?\u003c/p>\n\u003cp>For a start, there’s a sense of control in inviting that which scares us into our living rooms. If we go out of our way to confront it on our own terms, the shock of what’s lurking outside may be lessened, while also making us feel stronger. As George A. Romero notes in 2014 documentary, \u003ca href=\"https://www.imdb.com/title/tt3135424/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Why Horror?\u003c/em>\u003c/a>: “It’s a safe fright when you’re in a movie. And I think that enables you to sort of relish it. To look into yourself and say ‘Why am I afraid of this?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book \u003ca href=\"https://www.goodreads.com/book/show/24945315-scream\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scream: Chilling Adventures in the Science of Fear\u003c/em>\u003c/a>, points out that human fear is rooted in the unfamiliar. “Humans have sophisticated systems of prediction,” Margee Kerr writes, “and when our predictions don’t match our experience, it raises a red flag and puts us in a state of uncertainty.”\u003c/p>\n\u003cp>Watching scary red skies in movies this week, then, might help imbue us with the sense that what we’re living through isn’t, in fact, brand new. Seeing other people, whether they’re fictional characters or not, calmly coping with similarly challenging environments can help make extraordinary conditions feel less strange.\u003c/p>\n\u003cfigure id=\"attachment_13886101\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Contagion.jpg\" alt=\"Just as in March, when quarantined home viewers nationwide streamed 'Contagion' (above) in record numbers, dystopian movies are having a surge in popularity for wildfire season.\" width=\"600\" height=\"397\" class=\"size-full wp-image-13886101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Contagion-160x106.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Just as in March, when quarantined home viewers nationwide streamed ‘Contagion’ (above) in record numbers, dystopian movies are experiencing a surge in popularity for wildfire season. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, watching movies about whatever we’re currently facing down can give us a sense of preparation. Maybe if we watch a fictional version of the thing we’re worried about, we’ll learn some useful coping strategies. “I’m probably a little more equipped to deal with death, disease [and] tragedy than other people,” Colin Geddes, a programmer at Toronto International Film Festival has \u003ca href=\"https://www.youtube.com/watch?v=URb0EDLHgjo\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>. “Because I’ve seen it played out and it makes me think about how I would react in these situations with these misfortunes.”\u003c/p>\n\u003cp>Back in March, a \u003ca href=\"https://www.vulture.com/2020/03/contagion-coronavirus-pandemic-fiction.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a> article exploring the rise in popularity of \u003cem>Contagion \u003c/em>echoed Geddes’ sentiments. “I watched it because this current pandemic crisis makes me terrified, and a story about exactly that same thing is one way to grapple with that fear,” wrote Kathryn VanArendonk. “Pandemic fiction is about how people behave in response to acute, sudden-onset helplessness. When we’re confronted with that helplessness in real life, watching some version of it—any version of it, and ideally one where at least some people survive—is comforting. It’s a model for how we could respond.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Incidentally,\u003cem> Contagion\u003c/em> wasn’t the only pandemic movie that surged in popularity in 2020. \u003cem>Outbreak\u003c/em> and \u003cem>12 Monkeys\u003c/em>—both eerily having their 25th anniversaries this year—have had a renaissance as well. (Which likely explains why the latter was snapped up from Netflix by HBO Max one month after shelter in place went into effect.)\u003c/p>\n\u003cp>What all of this means is: if you have the desire to watch dystopian fiction specifically because it feels like the end of the world right now, there’s absolutely nothing wrong with you. On the contrary, you might even be doing something useful for yourself.\u003c/p>\n\u003cp>So, by all means, as long as Bay Area skies are burning red and raining ash down on us, if you feel like running in the direction of \u003cem>The Martian\u003c/em>‘s poop potatoes, have at it. If you want to throw on a trenchcoat and wander around pretending to be a replicant, go right ahead. (Just put a mask on first.) And if the red sky looks better to you when you imagine the Eye of Sauron in it, well, carry on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If 2020 has taught us anything, it’s the importance of grabbing joy and relief wherever you can find it—even if it’s in a story as disturbing as our reality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Not All Time Travel Films Need to Include Explosions",
"headTitle": "Now Playing! Not All Time Travel Films Need to Include Explosions | KQED",
"content": "\u003cp>The seasons are changing, and parents of school-age children may feel it most acutely. Yet time in the COVID-19 era also seems to be standing still, or (like the timeless \u003cem>Groundhog Day\u003c/em>) repeating itself. Consequently, our answers to the big questions may be mutable: Does time heal all wounds? Does tragedy + time = comedy?\u003c/p>\n\u003cp>This week’s highlighted movies invite us to feel and experience time in ways that, in normal circumstances, would be out of the ordinary. These three films offer, or at least suggest, a bouquet of redemption.\u003c/p>\n\u003cp>\u003cb>\u003cem>I’m Thinking of Ending Things\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80211559\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Charlie Kaufman came to public attention as a screenwriter of absurdist, turn-of-the-century fables of colliding realities (\u003cem>Being John Malkovich\u003c/em>, \u003cem>Human Nature\u003c/em>, \u003cem>Adaptation\u003c/em>, \u003cem>Confessions of a Dangerous Mind\u003c/em>, \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>). When he was given the opportunity, with \u003cem>Synecdoche, New York\u003c/em> and \u003cem>Anomalisa\u003c/em>, to direct his scripts, he confirmed that linear time was way too prosaic for his restless mind.\u003c/p>\n\u003cp>If you’re a Kaufman fan, you’ve already seen his latest obsessively constructed opus, \u003cem>I’m Thinking of Ending Things\u003c/em>, which premiered on Netflix at the front end of the Labor Day weekend. If not, the less you know the better. (Except that a familiarity with the 1950s musical \u003cem>Oklahoma!\u003c/em> is exceedingly helpful.) It’s the kind of movie whose surprises, from one moment to the next, and steady accretion of detail provoke evolving interpretations. \u003c/p>\n\u003cfigure id=\"attachment_13885988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13885988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Buckley as Young Woman, Jesse Plemons as Jake in ‘I’m Thinking Of Ending Things,’ 2020. \u003ccite>(Mary Cybulski/NETFLIX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I won’t deprive you of the pleasure of discovery. Well, other than to say that the film, inspired by Canadian author Iain Reid’s 2016 novel, is mainly structured as two long, car-bound, snow-swept conversations between culturally astute college students (Jessie Buckley and Jesse Plemons) driving to and from his parents’ farmhouse, sandwiched around that awkward and disconcerting visit.\u003c/p>\n\u003cp>\u003cem>I’m Thinking of Ending Things\u003c/em> takes its title from Buckley’s character’s first words, which she says to herself as a tentative first step toward breaking up. The yarn expands and inflates beyond this narrow circumstance to encompass, in my reading, an entire life span. Time is fluid: Now is then is the future. The whole ball of snow, uh, wax, if you will.\u003c/p>\n\u003cp>I’ll refrain from offering my interpretation of this brilliant movie, but I’ll make this observation: (spoiler alert) Plemons’ performance is an homage and a monument to the late Philip Seymour Hoffman (who starred in \u003cem>Synecdoche\u003c/em>). \u003c/p>\n\u003cp>https://youtu.be/OhX9xRrltSU\u003c/p>\n\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 11, streaming via \u003ca href=\"http://timemachinefilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">local theaters\u003c/a>, and airing Sept. 28 on \u003ca href=\"https://www.pbs.org/pov/watch/ourtimemachine/\" rel=\"noopener noreferrer\" target=\"_blank\">KQED\u003c/a>\u003c/p>\n\u003cp>Bay Area filmmaker S. Leo Chiang and Chinese director Yang Sun collaborated on this lovely and touching documentary about the intersection of art, work and family. And time, as the title temptingly promises.\u003c/p>\n\u003cp>As a way of connecting with and honoring his father, the Shanghai artist Maleonn devises the idea of an ambitious theatrical piece entitled \u003cem>Papa’s Time Machine: A Sci-Fi Stage Play with Mechanical Puppetry\u003c/em>. Maleonn’s primary aim, among several goals, is to acknowledge, confront and transcend the fact of his father’s gradually fading memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The filmmakers do an exquisite job, especially in the first 30 minutes, of interweaving the real-life adult child-parent dynamic with the process of making art. Originally (and improbably) envisioned as a six-month project, \u003cem>Papa’s Time Machine\u003c/em> requires ever more time and money, like many theater pieces. If everyone’s goal is a live performance before paying customers—which would also provide the film with a crowd-pleasing climax—it gradually becomes, as months turn into years, a slow-motion race against Papa’s declining faculties.\u003c/p>\n\u003cp>Papa’s long career as the director of the Shanghai Chinese Opera Theater adds a layer of poignancy to Maleonn’s endeavor. Art is a medium through which father and son can relate, even if their work is worlds apart. Tender, soulful and life-affirming, \u003cem>Our Time Machine\u003c/em> is a movie for all seasons.\u003c/p>\n\u003cp>https://vimeo.com/296540624\u003c/p>\n\u003cp>\u003cb>\u003cem>Edo Avant Garde\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/edo-avant-garde\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>The Edo period in Japanese history spanned more than 250 years before it came to an end in 1868. It was a time of peace and prosperity, and gave rise to an extraordinary art movement that is preserved today through remarkable screen and scroll paintings in museums and collections. I would have thought that the only way to appreciate this work was in person, until I saw Linda Hoaglund’s immersive documentary \u003cem>Edo Avant Garde\u003c/em>.\u003c/p>\n\u003cp>Most art history docs suck the life from their subject by alternating pictures and talking head experts. Although Hoaglund employs a wide array of Japanese and U.S. historians, curators and collectors, she is judicious with their words, a choice that allows us to enter the paintings. \u003c/p>\n\u003cp>And we do so with an altered sensibility. “Most Western art depicts nature as seen from a human perspective, at a specific time of day,” explains one expert. “But in the Japanese way of thinking about art, nature is the timeless, awe-inspiring environment and humans are just one of the creatures living there.”\u003c/p>\n\u003cfigure id=\"attachment_13885991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From the studio of Sotatsu, ‘Summer and Autumn Flowers,’ 1600s. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is that we see the paintings simultaneously of their time and outside of time. \u003cem>Edo Avant Garde\u003c/em> has an educational function, of course, but it is primarily an experiential work. And it is far better for it.\u003c/p>\n\u003cp>One last thing: From its title, I anticipated the documentary would seek to persuade that Edo painters were ahead of their time and more influential on subsequent artists than they have gotten credit for. Hoaglund does go there in the last 10 minutes, but it’s almost incidental by that point. We’ve been transported to another, spiritual reality.\u003c/p>\n\u003cp>You may be aware that a big-budget Hollywood exercise involving time travel is getting all the movie-hype these days. I promise a trip with any of the three films above will reap greater rewards.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seasons are changing, and parents of school-age children may feel it most acutely. Yet time in the COVID-19 era also seems to be standing still, or (like the timeless \u003cem>Groundhog Day\u003c/em>) repeating itself. Consequently, our answers to the big questions may be mutable: Does time heal all wounds? Does tragedy + time = comedy?\u003c/p>\n\u003cp>This week’s highlighted movies invite us to feel and experience time in ways that, in normal circumstances, would be out of the ordinary. These three films offer, or at least suggest, a bouquet of redemption.\u003c/p>\n\u003cp>\u003cb>\u003cem>I’m Thinking of Ending Things\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/80211559\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>Charlie Kaufman came to public attention as a screenwriter of absurdist, turn-of-the-century fables of colliding realities (\u003cem>Being John Malkovich\u003c/em>, \u003cem>Human Nature\u003c/em>, \u003cem>Adaptation\u003c/em>, \u003cem>Confessions of a Dangerous Mind\u003c/em>, \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>). When he was given the opportunity, with \u003cem>Synecdoche, New York\u003c/em> and \u003cem>Anomalisa\u003c/em>, to direct his scripts, he confirmed that linear time was way too prosaic for his restless mind.\u003c/p>\n\u003cp>If you’re a Kaufman fan, you’ve already seen his latest obsessively constructed opus, \u003cem>I’m Thinking of Ending Things\u003c/em>, which premiered on Netflix at the front end of the Labor Day weekend. If not, the less you know the better. (Except that a familiarity with the 1950s musical \u003cem>Oklahoma!\u003c/em> is exceedingly helpful.) It’s the kind of movie whose surprises, from one moment to the next, and steady accretion of detail provoke evolving interpretations. \u003c/p>\n\u003cfigure id=\"attachment_13885988\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13885988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ITOET_Unit_01496_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Buckley as Young Woman, Jesse Plemons as Jake in ‘I’m Thinking Of Ending Things,’ 2020. \u003ccite>(Mary Cybulski/NETFLIX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I won’t deprive you of the pleasure of discovery. Well, other than to say that the film, inspired by Canadian author Iain Reid’s 2016 novel, is mainly structured as two long, car-bound, snow-swept conversations between culturally astute college students (Jessie Buckley and Jesse Plemons) driving to and from his parents’ farmhouse, sandwiched around that awkward and disconcerting visit.\u003c/p>\n\u003cp>\u003cem>I’m Thinking of Ending Things\u003c/em> takes its title from Buckley’s character’s first words, which she says to herself as a tentative first step toward breaking up. The yarn expands and inflates beyond this narrow circumstance to encompass, in my reading, an entire life span. Time is fluid: Now is then is the future. The whole ball of snow, uh, wax, if you will.\u003c/p>\n\u003cp>I’ll refrain from offering my interpretation of this brilliant movie, but I’ll make this observation: (spoiler alert) Plemons’ performance is an homage and a monument to the late Philip Seymour Hoffman (who starred in \u003cem>Synecdoche\u003c/em>). \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OhX9xRrltSU'\n title='//www.youtube.com/embed/OhX9xRrltSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>\u003c/b>\u003cbr>\nOpens Sept. 11, streaming via \u003ca href=\"http://timemachinefilm.com\" rel=\"noopener noreferrer\" target=\"_blank\">local theaters\u003c/a>, and airing Sept. 28 on \u003ca href=\"https://www.pbs.org/pov/watch/ourtimemachine/\" rel=\"noopener noreferrer\" target=\"_blank\">KQED\u003c/a>\u003c/p>\n\u003cp>Bay Area filmmaker S. Leo Chiang and Chinese director Yang Sun collaborated on this lovely and touching documentary about the intersection of art, work and family. And time, as the title temptingly promises.\u003c/p>\n\u003cp>As a way of connecting with and honoring his father, the Shanghai artist Maleonn devises the idea of an ambitious theatrical piece entitled \u003cem>Papa’s Time Machine: A Sci-Fi Stage Play with Mechanical Puppetry\u003c/em>. Maleonn’s primary aim, among several goals, is to acknowledge, confront and transcend the fact of his father’s gradually fading memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The filmmakers do an exquisite job, especially in the first 30 minutes, of interweaving the real-life adult child-parent dynamic with the process of making art. Originally (and improbably) envisioned as a six-month project, \u003cem>Papa’s Time Machine\u003c/em> requires ever more time and money, like many theater pieces. If everyone’s goal is a live performance before paying customers—which would also provide the film with a crowd-pleasing climax—it gradually becomes, as months turn into years, a slow-motion race against Papa’s declining faculties.\u003c/p>\n\u003cp>Papa’s long career as the director of the Shanghai Chinese Opera Theater adds a layer of poignancy to Maleonn’s endeavor. Art is a medium through which father and son can relate, even if their work is worlds apart. Tender, soulful and life-affirming, \u003cem>Our Time Machine\u003c/em> is a movie for all seasons.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003cem>Edo Avant Garde\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://bampfa.org/event/edo-avant-garde\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>The Edo period in Japanese history spanned more than 250 years before it came to an end in 1868. It was a time of peace and prosperity, and gave rise to an extraordinary art movement that is preserved today through remarkable screen and scroll paintings in museums and collections. I would have thought that the only way to appreciate this work was in person, until I saw Linda Hoaglund’s immersive documentary \u003cem>Edo Avant Garde\u003c/em>.\u003c/p>\n\u003cp>Most art history docs suck the life from their subject by alternating pictures and talking head experts. Although Hoaglund employs a wide array of Japanese and U.S. historians, curators and collectors, she is judicious with their words, a choice that allows us to enter the paintings. \u003c/p>\n\u003cp>And we do so with an altered sensibility. “Most Western art depicts nature as seen from a human perspective, at a specific time of day,” explains one expert. “But in the Japanese way of thinking about art, nature is the timeless, awe-inspiring environment and humans are just one of the creatures living there.”\u003c/p>\n\u003cfigure id=\"attachment_13885991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/66-Summer-and-Autumn-Flowers-Studio-of-Sotatsu-1600s_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From the studio of Sotatsu, ‘Summer and Autumn Flowers,’ 1600s. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is that we see the paintings simultaneously of their time and outside of time. \u003cem>Edo Avant Garde\u003c/em> has an educational function, of course, but it is primarily an experiential work. And it is far better for it.\u003c/p>\n\u003cp>One last thing: From its title, I anticipated the documentary would seek to persuade that Edo painters were ahead of their time and more influential on subsequent artists than they have gotten credit for. Hoaglund does go there in the last 10 minutes, but it’s almost incidental by that point. We’ve been transported to another, spiritual reality.\u003c/p>\n\u003cp>You may be aware that a big-budget Hollywood exercise involving time travel is getting all the movie-hype these days. I promise a trip with any of the three films above will reap greater rewards.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Controversial Movie 'Cuties' Calls Out the Hypersexualization of Young Girls",
"headTitle": "Controversial Movie ‘Cuties’ Calls Out the Hypersexualization of Young Girls | KQED",
"content": "\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M0O7lLe4SmA\u003c/p>\n\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M0O7lLe4SmA'\n title='//www.youtube.com/embed/M0O7lLe4SmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Mann's 'Heat' at 25: A Newly Relevant Study in Loneliness",
"headTitle": "Michael Mann’s ‘Heat’ at 25: A Newly Relevant Study in Loneliness | KQED",
"content": "\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Feels Good Man' Traces Pepe the Frog From Hate Symbol to Democracy Icon",
"headTitle": "‘Feels Good Man’ Traces Pepe the Frog From Hate Symbol to Democracy Icon | KQED",
"content": "\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZEiqZWw5vYs\u003c/p>\n\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZEiqZWw5vYs'\n title='//www.youtube.com/embed/ZEiqZWw5vYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana",
"headTitle": "Now Playing! SF DocFest’s Escapist Blast of Weird Americana | KQED",
"content": "\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n",
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"excerpt": "The beloved annual compendium of odd, unusual nonfiction films from every corner of our bizarro country is now online.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To fulfill my undergraduate rhetoric requirement many years ago, I chose a course on satire. Around the fourth week our assignment was to pick up the current copy of \u003cem>National Lampoon\u003c/em>, which provoked a brouhaha over a house ad touting a contest to predict the date of 76-year-old former First Lady Mamie Eisenhower’s death.\u003c/p>\n\u003cp>A little over half the students in the class were from Chicago and its suburbs while the other half were from small towns and rural hamlets, mirroring the enrollment at this large public university in downstate Illinois. Several students from the latter demographic angrily criticized the promotion (the prize was a year’s subscription, if memory serves) for unforgivable bad taste and appalling immorality. No disputing the first charge, but I didn’t see how venturing a guess could remotely influence or hasten a random stranger’s demise.\u003c/p>\n\u003cp>Your position on this crucial existential debate will determine your enjoyment of Mike Scholtz’s \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f174138cf0874005370ca10\" rel=\"noopener noreferrer\" target=\"_blank\">Riplist\u003c/a>\u003c/em>, a wry, intelligent sliver of singular American weirdness. Structured around their 2017 draft of potentially dearly departed celebrities in the coming year, the film queries seven unpretentious, self-aware Minnesotans about their obsession and competition, and the stigma of participating in a death pool. I chuckled practically nonstop through \u003cem>Riplist\u003c/em>, which may be an indication of how much (or how little) I’ve matured since college.\u003c/p>\n\u003cfigure id=\"attachment_13885740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Truth-Consequences_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth or Consequences.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to \u003ca href=\"https://sfdocfest2020.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">SF DocFest\u003c/a>, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook.\u003c/p>\n\u003cp>Bumped by the pandemic from its June residency at the Roxie, SF DocFest plants its flag online from Sept. 3 through 20 with a program encompassing 25 features, nearly two-dozen short films and a plethora of streaming Q&As.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17463088821b00695b7886\" rel=\"noopener noreferrer\" target=\"_blank\">Truth or Consequences\u003c/a>\u003c/em>, Hannah Jayanti’s introspective lost-in-America postcard that’s toasted with the festival’s centerpiece slot, epitomizes the ethos of DocFest: A unique point of view well off the beaten path, leisurely paced and quietly revelatory. Jayanti shows us a handful of scavengers and survivors stuck in the sun-blistered perma-limbo of the titular New Mexico town, luring us into a web of detritus, entropy and failure. Bill Frisell’s lovely lonesome-cowboy guitar picking fills in the melancholic open spaces, and you half expect a tumbleweed to blow by. It’s a strangely entrancing film to get lost in.\u003c/p>\n\u003cp>The producer of \u003cem>Truth or Consequences\u003c/em>, Sara Archambault, is this year’s recipient of the fest’s Non-Fiction Vanguard Award. Like most champions of independent artists, Archambault has zero name recognition among the public, but anything she works on is deserving of attention.\u003c/p>\n\u003cfigure id=\"attachment_13885742\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Rutland.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Rutland-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘For the Love of Rutland.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The economic prospects aren’t much brighter at the other end of the continent, in old-line Vermont, where Jennifer Maytorena Taylor shot the patient and engrossing \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f173d2e6f03120059f27d22\" rel=\"noopener noreferrer\" target=\"_blank\">For the Love of Rutland\u003c/a>\u003c/em>. (Disclosure: Taylor and I worked together on the KQED show \u003ci>Independent View\u003c/i> several years ago.) \u003c/p>\n\u003cp>Taylor’s work examines American resistance to diversity, and one deduces that what drew her to Rutland was the mayor’s unilateral 2016 decision to accept 100 Syrian refugees—and the fault lines it exposed between hardline anti-immigrants and those who imagined how motivated newcomers could help rejuvenate a waning former manufacturing town with an opioid problem.\u003c/p>\n\u003cp>It turned out that just two Syrian families had resettled in Rutland when a new president squashed immigration from “Muslim countries.” So the veteran San Francisco filmmaker had to pivot, and she shifted her focus to a white mother fighting to keeping her family together in the face of chronic poverty and scant opportunity. Taylor came away with a moving, cliché-resistant portrait of the working poor that, miraculously, leaves us believing in the persistence and possibility of community. \u003c/p>\n\u003cfigure id=\"attachment_13885737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ROYS-WORLD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Roy’s World: Barry Gifford’s Chicago.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley author Barry Gifford is best-known for his Sailor and Lula novels that inspired the films \u003cem>Wild at Heart\u003c/em> and \u003cem>Perdita Durango\u003c/em>. His voluminous writings include the Roy chronicles, a slew of autobiographical short stories detailing a boy’s coming of age in Chicago in the 1950s. It was a corrupt, racist town (what’s changed, you say?), as real as it gets, and Gifford nails it in unadorned sentences that, en masse, convey Roy’s expanding horizons.\u003c/p>\n\u003cp>Rob Christopher’s altogether wonderful \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f1741be799de80029a81930\" rel=\"noopener noreferrer\" target=\"_blank\">Roy’s World: Barry Gifford’s Chicago\u003c/a>\u003c/em> spoke to me as an expatriate who grew up on the same streets in the same world, albeit a few years later. But any urbanite whose childhood and adolescence preceded the digital age will have the same reaction, for Gifford’s writing (flawlessly read by the perfectly cast trio of Willem Dafoe, Lili Taylor and Matt Dillon) and the plethora of archival footage connect us to tangible, physical objects: a used Buick with tattered seats, a snowstorm, a sand-filled ashtray in a hotel lobby, a newsstand, a back porch, an alley with a reflecting pool of rainwater.\u003c/p>\n\u003cp>\u003cem>Roy’s World\u003c/em> isn’t about the writing process so much as the stories themselves—the experiences they evoke and delineate. Maintaining the effect that we’re sharing Roy’s life and not Adult Barry’s, the filmmaker keeps Gifford off-camera until the very end. Jason Adasiewicz’s original jazz score neatly sets the mood and the place, adding another bittersweet layer of pleasure.\u003c/p>\n\u003cfigure id=\"attachment_13885741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/unlocking_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13885741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/unlocking_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Unlocking the Doors of Cinema.’ \u003ccite>(SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Syrian film director Mohammad Malas warmly expounds at length on his philosophy and working methods in \u003cem>\u003ca href=\"https://sfdocfest2020.eventive.org/films/5f17475067d179008f9362e0\" rel=\"noopener noreferrer\" target=\"_blank\">Unlocking the Doors of Cinema\u003c/a>\u003c/em>. Essentially unknown in the Bay Area outside of Arab film cognoscenti, Malas is the lone speaker in this one-hour doc, guiding us through a singular career that took off with the 1987 narrative debut \u003cem>Dreams of the City\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My lifelong journey with cinema,” Malas tells us, “is one of rebellion against despotism, overcoming obstacles, telling stories no one dares to tell.” That’s a pretty good mantra for SF DocFest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "death-is-all-around-in-2020-what-can-we-do",
"title": "Death is All Around in 2020. What Can We Do?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even if you exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\n\u003cp>https://twitter.com/mrbrownsir/status/1299189751036215297\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1299543808992968705\u003c/p>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the house for a midday Saturday photo shoot. Late. Damn. Forgot my wallet. Double damn. Then, I noticed my passenger side tire was low on air. Slow leak? I didn’t know, and I wasn’t risking it. It was a sign: stay home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>On average, 38,000 people in America die in car crashes each year. And the way 2020 has played out, with souls getting yanked from this big spinning rock at an alarming rate, I’m not risking anything.\u003c/p>\n\u003cp>This year, I’ve lost loved ones, and loved ones of loved ones. I’ve publicly mourned the passing of people I’ve never met—celebrities—but I celebrate their craft, and therefore celebrate their lives. And I’ve consumed far too much news about people, many of whom look like me, being killed by law enforcement.\u003c/p>\n\u003cp>Every time I pick up my phone, someone new has died. It’s not an exaggerated feeling. A \u003cem>lot\u003c/em> of people are dying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even if you exclude the \u003ca href=\"https://www.cnbc.com/2020/09/01/fauci-debunks-theories-of-low-cdc-coronavirus-death-toll-there-are-180000-plus-deaths-in-us.html\" target=\"_blank\" rel=\"noopener noreferrer\">over 180,000 people\u003c/a> in the US who’ve died of COVID thus far, this year has still had more excess deaths than normal. Excess deaths, or “excess mortality,” describes the number of people dying beyond what’s been predicted.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.marketwatch.com/story/the-excess-deaths-tally-in-the-us-is-204691-in-7-months-so-covid-19-deaths-might-be-undercounted-2020-08-13\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> from last month, Ronald D. Fricker Jr. noted the amount of actual deaths was at least 164,937 deaths above the expected count during the period of January 2020 through the start of August. Fricker, an Associate Dean of Virginia Tech College of Science, explained that if you were to subtract the deaths tagged as COVID-19-related, it still leaves over 16,000 deaths above the norm. In explaining the cause of those 16,000 deaths, Fricker writes, “COVID-19 deaths could be being undercounted, or the pandemic could also be causing increases in other types of death. It’s probably some of both.”\u003c/p>\n\u003cp>No matter the cause, clear across the board, the \u003ca href=\"https://www.cdc.gov/nchs/nvss/vsrr/covid19/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">CDC is reporting\u003c/a> a higher number of deaths this year than usual.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he numbers are more than numbers. They’re a point of entry into understanding the mind-state that comes with not being able to mourn a death properly and fully before hearing word of another death. A drowning of a college friend followed that same week by the homicide of another. The unexpected passing of a friend’s father—the same friend who taught me about aspects of fatherhood. All of a sudden, for me, death seems ever-present.\u003c/p>\n\u003cp>The work of being a journalist doesn’t help the cause. Tragic deaths are a normal part of the news cycle; you’re not \u003cem>supposed\u003c/em> to be personally impacted.\u003c/p>\n\u003cp>But then came the death of Chadwick Boseman, and it wasn’t just about \u003cem>Black Panther\u003c/em>. Here’s a guy who graduated from the \u003ca href=\"https://bcnn1wp.wordpress.com/2018/05/02/black-panthers-chadwick-boseman-to-deliver-2018-commencement-address-at-his-alma-mater-howard-university/\" target=\"_blank\" rel=\"noopener noreferrer\">same institution of higher learning\u003c/a> I did, and went on to tell stories of Black folks, like I do. As a Black male artist, I felt him. Not that I was looking for role models or anything, but I’ll admit now that \u003ca href=\"https://www.huffpost.com/entry/42-review-jackie-robinson_b_3024551\" target=\"_blank\" rel=\"noopener noreferrer\">after being assigned to review \u003cem>42\u003c/em>\u003c/a>, the biopic of Jackie Robinson, I was compelled to take a movie poster home from the Jack London Square movie theatre lobby.\u003c/p>\n\u003cfigure id=\"attachment_13885682\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funeral.Flowers.jpg\" alt=\"Terrence Bardney of Leak and Sons' Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois.\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funeral.Flowers-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Terrence Bardney of Leak and Sons’ Funeral Chapels carries flowers from the chapel following a service on April 16, 2020 in Country Club Hills, Illinois. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea of identifying with people who die is terrifying. That’s why the filmed shootings of Black people—men, women, trans or other—make me feel like a portion of myself has died, or will die soon.\u003c/p>\n\u003cp>It’s the sensation of impending doom, like the sword of Damocles is constantly suspended over my dome; I think about death every time I leave home. So this weekend I stayed at the crib.\u003c/p>\n\u003cp>Still, despite taking a bath to relax, I found myself gravitating toward the subject of death. I listened to the “Eulogy” clip from Richard Pryor’s “ … Is It Something I Said?” 1975 standup. I slapped Tupac’s “Death Around the Corner.” Re-read the circumstances around Lisa “Left Eye” Lopes’ death. Looked back at stories from 2006, the year Oakland had over 145 homicides—that was the first time I rationally felt the sensation of impending doom.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And I asked parent-Twitter if they had made it through this year without crying in front of their kids. The underlying notion being: crying is often the manifestation of the sadness that comes with the mourning process; and maybe even connected to further acknowledgement of your own mortality—which is a hard discussion when you’re looking in the face of your offspring.\u003c/p>\n\u003cp>I got hella responses to my somewhat rhetorical question. Just about every answer was “no.” People without kids said they teared up in front of their pets. Some folks said they cried for the first time last week.\u003c/p>\n\u003cp>But overall, a lot of people openly acknowledged being sad. And with deaths in this country through the roof, I’d be a fool to think I’m the only one grieving.\u003c/p>\n\u003cfigure id=\"attachment_13885684\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg\" alt=\"Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama.\" width=\"1024\" height=\"672\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Funerla.JohnLewis-768x504.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Wearing a John Lewis mask, Marion Glaser travelled from Mississippi to view the funeral procession of civil rights icon, former US Rep. John Lewis (D-GA) on July 26, 2020 in Montgomery, Alabama. \u003ccite>(Jessica McGowan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> needed some advice from a pro on this topic. Enter Angela Hennessy, \u003ca href=\"https://www.instagram.com/thehouseofhennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">a visual artist\u003c/a> and \u003ca href=\"https://portal.cca.edu/people/ahennessy/\" target=\"_blank\" rel=\"noopener noreferrer\">associate professor\u003c/a> at California College of the Arts, where she teaches classes on “cultural narratives of death and contemporary art.” When asked how she identifies herself, Hennessy says, “I’m a survivor.”\u003c/p>\n\u003cp>In 2015 Hennessy was shot in the midst of trying to stop an assault. She tells me she’s been thinking about her own mortality ever since.\u003c/p>\n\u003cp>“Being aware of one’s mortality, and to let that impact the decisions we make on the day-to-day basis, that’s normal,” says Hennessy. “That knowledge has an impact on how you look into a loved one’s eyes.”\u003c/p>\n\u003cfigure id=\"attachment_13885702\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHennessy.jpg\" alt=\"Angela Hennessy's work is informed by a deep understanding of mortality.\" width=\"320\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHennessy-160x200.jpg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy’s work is informed by a deep understanding of mortality. \u003ccite>(Instagram/Angela Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy says that people on their deathbed don’t question if they did “all the work” they were supposed to; they question if they loved, and if they were loved. “Death has a way of resetting priorities,” says Hennessy, lightening the tone of the conversation.\u003c/p>\n\u003cp>So are we, collectively, having a massive resetting of priorities right now?\u003c/p>\n\u003cp>Given this year’s public response to the systematic and individualized disregard for the lives of humans who are different than those who’ve traditionally held power in this land called America, it’s clear something is changing.\u003c/p>\n\u003cp>A metaphorical death, of sorts. And a new beginning? I hope so, and Hennessy somewhat agrees. But she notes that it leaves the question: if we’re living at a time when there is great transition, be it social change or people individually changing en masse, what’s our responsibility?\u003c/p>\n\u003cp>“That’s what I’m asking myself all the time,” says Hennessy, noting that in effort to find the answer, she often turns to rituals, altars and verbally acknowledging those who’ve passed.\u003c/p>\n\u003cp>“Death is everywhere, all the time. But we’ve got to \u003cem>see\u003c/em> it,” says Hennessy. She uses the lifecycle of plants to exemplify the presence of death. At the same time, plants show us the presence of life as well. And that aids her understanding of how to proceed in this world. Hennessy says, “That’s why I choose the color palettes I do—to engage with my ancestors. To let them know I’m here.” She tells me, “Some people run towards death, some people run away from it.”\u003c/p>\n\u003cfigure id=\"attachment_13885687\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg\" alt=\"Anglea Henessy, 'Mourning Wreath,' (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base.\" width=\"1024\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ANgelaHenessy.MourningWreath-768x528.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Anglea Henessy, ‘Mourning Wreath,’ (detail), 2017. Synthetic and human hair, found hair, artist’s hair, gold leaf on copper, enamel paint, chain, wire frame, and cement base. \u003ccite>(Courtesy Angela Henessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Death is a part of life. That’s not a new concept to me, but it’s maybe something I’d forgotten because of the overwhelming amount of deaths in my circle this year. But I know balance exists in this universe.\u003c/p>\n\u003cp>Evidence isn’t just in Angela’s comments. It’s in the \u003ca href=\"https://population.un.org/wpp/Publications/Files/WPP2019_Highlights.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report from the CDC\u003c/a> that even with the high number of deaths in the United States this year, the amount of babies born will be greater than the number of people who pass. And that trend is expected to continue for some years to come.\u003c/p>\n\u003cp>It’s comforting to know the cycle of life is doing as it should. It’s reminiscent of that scene in \u003cem>Black Panther\u003c/em>, when King T’Chaka spoke to his son King T’Challa from the afterlife:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A man who has not prepared his child for his own death has failed as a father. Have I ever failed you?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Black Panther’ Star Chadwick Boseman Dies of Cancer at 43",
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"content": "\u003cp>Actor Chadwick Boseman, who played Black icons Jackie Robinson and James Brown before finding fame as the regal Black Panther in the Marvel cinematic universe, died Friday of cancer, his representative said. He was 43.\u003c/p>\n\u003cp>Boseman died at his home in the Los Angeles area with his wife and family by his side, his publicist Nicki Fioravante told The Associated Press.\u003c/p>\n\u003cp>https://twitter.com/badboi861/status/1299737174867230720\u003c/p>\n\u003cp>Boseman was diagnosed with colon cancer four years ago, his family said in a statement.\u003c/p>\n\u003cp>“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” his family said in the statement. “From \u003cem>Marshall\u003c/em> to \u003cem>Da 5 Bloods\u003c/em>, August Wilson’s \u003cem>Ma Rainey’s Black Bottom\u003c/em> and several more—all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in \u003cem>Black Panther.\u003c/em>”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boseman had not spoken publicly about his diagnosis.\u003c/p>\n\u003cp>https://twitter.com/JoeSaunders/status/1299644704242511872\u003c/p>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\n\u003cp>https://twitter.com/SantiagoMejia/status/1299558558397202437\u003c/p>\n\u003cp>“This is a crushing blow” actor and director Jordan Peele said on Twitter, one of many expressing shock as the news spread across social media.\u003c/p>\n\u003cp>“This broke me,” said actor and writer Issa Rae.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Boseman was diagnosed with colon cancer four years ago, his family said in a statement.\u003c/p>\n\u003cp>“A true fighter, Chadwick persevered through it all, and brought you many of the films you have come to love so much,” his family said in the statement. “From \u003cem>Marshall\u003c/em> to \u003cem>Da 5 Bloods\u003c/em>, August Wilson’s \u003cem>Ma Rainey’s Black Bottom\u003c/em> and several more—all were filmed during and between countless surgeries and chemotherapy. It was the honor of his career to bring King T’Challa to life in \u003cem>Black Panther.\u003c/em>”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Born in South Carolina, Boseman graduated from Howard University and had small roles in television before his first star turn in 2013. His striking portrayal of the stoic baseball star Robinson opposite Harrison Ford in 2013′s \u003cem>42\u003c/em> drew attention in Hollywood.\u003c/p>\n\u003cp>Boseman died on a day that Major League Baseball was celebrating Jackie Robinson day.\u003c/p>\n\u003cp>His T’Challa character was first introduced to the blockbuster Marvel movies in 2016′s \u003cem>Captain America: Civil War\u003c/em>, and his “Wakanda Forever” salute reverberated around the world after the release of \u003cem>Black Panther\u003c/em> two years ago.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This is a crushing blow” actor and director Jordan Peele said on Twitter, one of many expressing shock as the news spread across social media.\u003c/p>\n\u003cp>“This broke me,” said actor and writer Issa Rae.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2020 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Class Action Park' Remembers the Perils of a Really Good Time",
"headTitle": "‘Class Action Park’ Remembers the Perils of a Really Good Time | KQED",
"content": "\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mqg48h_uKYM\u003c/p>\n\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a species of giddy nostalgia that involves laughing off what you barely survived. It can be even more powerful if, at the time, you didn’t know how lucky you got. It’s the nostalgia of near-miss childhood accidents and times you almost set the house on fire, and of things that fell from the ceiling a foot from your head. It’s also the nostalgia of the new documentary \u003cem>Class Action Park\u003c/em>.\u003c/p>\n\u003cp>Made by Seth Porges and Chris Charles Scott, the film chronicles Action Park, the New Jersey waterslide park that opened in 1978, enjoyed great popularity in the 1980s and is now remembered in part for the injuries and deaths that gave it its nickname and contributed to knocking it out of business in 1996. Some parks have themes like the Wild West or futurism or countries of the world; Action Park’s theme was deregulation. With roots in Wall Street arrogance and an apparent ability to wiggle around any legal obstacle its leadership encountered, the park was built around one question: \u003cem>Who says we can’t?\u003c/em>\u003c/p>\n\u003cp>Not surprisingly, it was very popular with teenagers, many of whom have a similar philosophy but not the money to translate it into physical reality. It was run by kids, too. Employees (mostly boys) who are now middle-aged men remember workers as young as 14, in flagrant violation of labor laws, being put in charge of operating rides that were unsafe to begin with. According to those who were there, the rides—built without relevant know-how or concern for safety, but with lots of drive to make everything more exciting—took out teeth, dislocated shoulders, gashed foreheads and laid down friction burns all along arms and legs.\u003c/p>\n\u003cp>More importantly, the film says, people died. Three drowned in the wave pool. One was thrown from a ride onto rocks the park had been told to remove. One was electrocuted after falling into water near submerged machinery. The park had to buy its own ambulances, so thoroughly was it monopolizing local emergency-response resources.\u003c/p>\n\u003cp>To top it all off, the liability insurance the park supposedly had was with a company park owner Gene Mulvihill set up for himself in the Cayman Islands. According to this telling, if you sued, he fought. If you won, he didn’t pay until the marshals came to the park to collect. All told, this could have been a film with the fully dark tone of an Alex Gibney exposé, but it isn’t that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because the people who remember Action Park want you to know it wasn’t all bad.\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/mqg48h_uKYM'\n title='//www.youtube.com/embed/mqg48h_uKYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is, you see, that giddy nostalgia—even a genuine, rollicking humor—in the recollections of parkgoers and employees about what it was like to visit a water park essentially built to be out of control. They say it was wild, it was exciting, it was a place to test your courage. It was fun and weird, and kids ran it without much adult supervision. People drank too much and crashed sleds and fought and, yes, they got hurt, but in its own way, it was a really good time. That’s what they all say. That’s why Jimmy Kimmel and Johnny Knoxville are grinning in a piece of old footage where they’re chatting about how dangerous everything was. It wasn’t some secret, underground den of iniquity, either: MTV filmed an episode of \u003cem>Headbangers Ball \u003c/em>there with Alice in Chains. There were TV commercials. Its dangers got written up in the paper—which, of course, made kids want to visit even more.\u003c/p>\n\u003cfigure id=\"attachment_13885440\" class=\"wp-caption alignright\" style=\"max-width: 244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png\" alt=\"Chris Gethard provides some of the smartest and funniest reflections in 'Class Action Park.'\" width=\"244\" height=\"229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM.png 244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-27-at-2.15.31-PM-160x150.png 160w\" sizes=\"(max-width: 244px) 100vw, 244px\">\u003cfigcaption class=\"wp-caption-text\">Chris Gethard provides some of the smartest and funniest reflections in ‘Class Action Park.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why the filmmakers were so smart to turn to one of our great cultural commentators on comedy/tragedy juxtapositions: comedian Chris Gethard. Gethard has done \u003ca href=\"https://www.npr.org/2017/05/06/526892264/chris-gethardisnt-kidding-about-career--suicide\" target=\"_blank\" rel=\"noopener noreferrer\">comedy about his own suicide attempt\u003c/a> and, as it turns out, he was an avid attendee at Action Park (he even talked about it on his 2019 album \u003cem>Taylor Ham, Egg and Cheese\u003c/em>, which is entirely about New Jersey). His descriptions of what the rides were like are uproariously funny, but more than any of the other people interviewed, he reckons with the limitations of nostalgia for the childhood risks you took, even if you had fun. More than anyone, he’s willing to say that the fact that something was fun, that you smile and laugh when you remember it, doesn’t mean it’s good that it happened. He talks, with admirable directness, about the fundamental conflict between how things feel when they happen to you and how you look back at them later, and that applies to a lot more than just dangerous amusement parks.\u003c/p>\n\u003cp>I don’t know that anyone else could have brought the perspective to this that Gethard does. Everyone else who isn’t directly a victim of the park’s dangers comes off as perhaps a touch too glib, a little too impressed with the bad-assery of it all, a little too willing to sound convinced that it was a good thing that kids weren’t so soft back then. Because, yes, you do get some of the expected comments about how kids aren’t allowed to ride their bikes 15 miles each way to a water park anymore, and how in the 1980s, “we” as teenagers were carefree and happy (take note: “we,” as always, is not applicable to everyone). But it’s Gethard who’s the most determined to hold in his head simultaneously the appeal of nostalgia and its traps. It’s his commentary that can comfortably live beside both the reminiscences of the people whose memories of Action Park are mostly funny and the interview with the mother of one of the boys who died there.\u003c/p>\n\u003cp>They hit the sweet spot with this movie, in that it’s a film that will work for people who knew all about Action Park (or Class Action Park, or Traction Park, or another of its nicknames), but also for people who didn’t, really. There’s plenty of retracing of the park’s rocky, slippery steps, but also a lingering, underlying quandary with broad application: “How do I put context around this experience that I enjoyed, but that I almost certainly would not have had in a better-run world?” Or perhaps, “How do I make peace with having enjoyed something that hurt people, but not because of anything I did?”\u003c/p>\n\u003cp>It’s a great story, well told. And while there are threads that could have been more thoroughly pursued (particularly allegations about Mulvihill’s influence on local politicians, who had known about the park’s safety record for years), what emerges is both a solid history of the park and a surprisingly thoughtful piece about how we contextualize our own childhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park \u003c/strong>\u003c/em>\u003cstrong>comes to HBO MAX on Thursday. \u003c/strong>\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=%27Class+Action+Park%27+Remembers+The+Perils+Of+A+Really+Good+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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