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"content": "\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>[aside postid='arts_13967482']That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls\u003c/p>\n\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>[aside postid='arts_13967410']In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>[aside postid='arts_13967293']There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In new horror movie \u003cem>Heretic\u003c/em>, the terror begins with the promise of a home-cooked blueberry pie. The pie is just one of the ways in which the villain of the piece, Mr. Reed (a superbly sinister Hugh Grant) lures two Mormon missionaries into his spiraling nightmare of a home. The pie — or rather, the lack of one — is the first indication Sister Barnes (\u003cem>Yellowjackets\u003c/em>’ Sophie Thatcher) and Sister Paxton (Chloe East) have that they’re in danger. Blueberry pie appears again and again throughout.\u003c/p>\n\u003cp>[aside postid='pop_105670']That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>[aside postid='arts_13904911']\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\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/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>[aside postid='arts_13959414']In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>[aside postid='arts_13967293']The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\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/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Some are well-worn warnings as familiar as the changing of seasons. Others are slow burns that end with a bang. Still others are just plain eerie.\u003c/p>\n\u003cp>[aside postid='arts_13884403']Stories of spiritual entities, paranormal activity and creepy cryptids are passed through generations the world over, becoming local legends that only sometimes reach across borders and cultures.\u003c/p>\n\u003cp>So if the sordid tales you grew up with no longer make you shiver, it’s time to reanimate your roster with global tales of ghosts, hauntings, and petrifying processions.\u003c/p>\n\u003cp>With Halloween nigh, and the season in many parts of the world ripe for campfires and spooky stories, people gravitate toward fear even in a complex and sometimes scary world. Here are some favorites — lore and fiction, with maybe some truth sprinkled throughout — that The Associated Press gathered from its journalists around the planet:\u003c/p>\n\u003cfigure id=\"attachment_13967490\" class=\"wp-caption aligncenter\" style=\"max-width: 2464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg\" alt=\"An Asian person in white face paint posing in a menacing position.\" width=\"2464\" height=\"1648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg 2464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-2048x1370.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1920x1284.jpg 1920w\" sizes=\"(max-width: 2464px) 100vw, 2464px\">\u003cfigcaption class=\"wp-caption-text\">Yo-ho, yo-ho, beware fake paper money scatterings! \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>China: The corpse walkers\u003c/h2>\n\u003cp>If you were out on the road in China in the old days — if you believe the stories, that is — you might have encountered a strange procession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First, a man carrying a white paper lantern and scattering fake paper money ahead of them, chanting, “Yo ho, yo ho.” Then, a towering, hooded black figure wearing a ghastly mask and marching in an awkward, wooden gait. Bringing up the rear, another man guiding the giant by touch, perhaps with a black cat.\u003c/p>\n\u003cp>They were corpse walkers — and the giant was the corpse.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Bad things happen when someone gets buried far from home: Without descendants to feed their spirit and keep their grave clean, they’ll have a hard time settling in. They could even come back as a hungry ghost. So when a traveler died, the family would hire people who knew the strange art of walking a stiff body home.\u003c/p>\n\u003cp>When interviewer Liao Yiwu asked about memories of corpse walkers in the 2000s, some said they’d use a black cat to imbue the body with static electricity to make it walk. Others said there was a third man hiding under the cloak and giving the corpse a piggyback ride.\u003c/p>\n\u003cp>People kept their distance, he wrote, but the corpse walkers were always welcome at inns because they paid three times the normal rate and were said to bring good luck.\u003c/p>\n\u003cp>— By David Cohen in Bangkok\u003c/p>\n\u003ch2>France: The legend of St. Denis\u003c/h2>\n\u003cp>One of France’s oldest spooky legends is also one of its most gruesome, because it involves a walking headless corpse.\u003c/p>\n\u003cp>Said to have been Paris’ first bishop, Denis — later St. Denis — went on to lend his name to what is now the northern Paris suburb of Saint-Denis, famous for its magnificent basilica, its soccer stadium and the Olympic village that housed athletes during the Paris Games.\u003c/p>\n\u003cp>The third-century Roman rulers of what was then Gaul were apparently less than thrilled that Denis and companions Rustique and Éleuthère were making converts. Even after tossing them in prison, Denis continued to celebrate Mass. In some accounts, Denis suffered all manner of unspeakable tortures to make him renounce his faith — not just run-of-the-mill flagellation, but also mauling by famished wild beasts and being locked in a scorching oven.\u003c/p>\n\u003cp>Eventually, the three were sentenced to death and beheaded.\u003c/p>\n\u003cp>Legend has it that Denis’ corpse, lifted by two angels, picked up his severed head and walked from the Mount of Martyrs — the supposed execution site now called Montmartre — for about 6 kilometers (nearly 4 miles) before collapsing in the village of Catulliacum, now the town of Saint-Denis.\u003c/p>\n\u003cp>In Montmartre today, Suzanne Buisson Square has a statue of St. Denis holding his head, which he is said to have washed in the waters of a fountain there before staggering away with it.\u003c/p>\n\u003cp>— By John Leicester in Paris\u003c/p>\n\u003ch2>Mongolia: The death worm\u003c/h2>\n\u003cp>Slithering beneath the vast dunes of the Gobi Desert, legend has it, is the monstrous Mongolian Death Worm. It kills prey by squirting lethal venom and can even electrocute from a distance. So goes the folklore that has since inspired depictions of deadly giant worms in movies and fiction. In Mongolia, the creature is known as olgoi khorkhoi, which roughly translates as “intestine worm.”\u003c/p>\n\u003cp>[aside postid='arts_13894837']The critter became known abroad after American paleontologist and explorer Roy Chapman Andrews wrote about it in his 1926 book, “On the Trail of Ancient Man: A Narrative of the Field Work of the Central Asiatic Expeditions.” During a meeting with the Mongolian premier, Andrews was asked to capture a specimen of the giant worm.\u003c/p>\n\u003cp>“None of those present ever had seen the creature, but they all firmly believed in its existence and described it minutely,” he wrote. “It is shaped like a sausage about two feet long, has no head nor legs and is so poisonous that merely to touch it means instant death.”\u003c/p>\n\u003cp>Some believe the lore began with a more common animal — a snake called the Tartar sand boa. Others, undeterred, believe the giant worms exists. Subsequent expeditions have yet to yield any proof.\u003c/p>\n\u003cp>— By Emily Wang Fujiyama in Beijing\u003c/p>\n\u003cfigure id=\"attachment_13967491\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967491 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg\" alt=\"A traditional print depicting a woman throwing a knife at a man's chest. Behind her stands a demon with a a bent nose and long ears.\" width=\"2560\" height=\"1771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-2048x1416.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1920x1328.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maybe don’t get involved with Bárbara, fellas… \u003ccite>(Sepia Times/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brazil: Bárbara of the Pleasures\u003c/h2>\n\u003cp>It’s the turn of the 19th century, and colonial Rio de Janeiro is bustling. There are merchants, vendors, enslaved people, sailors — and a Portuguese immigrant, about 20 years old, named Bárbara. Legend says she stabbed her sleeping husband to run off with a lover, who then began exploiting her. Bárbara killed him, too, and was on her own.\u003c/p>\n\u003cp>As the story goes, she turned to sex work inside the Teles Arch. The dank, dark passage led off the plaza where the Portuguese emperor sat, and members of the royal court became faithful clients of the beautiful courtesan known as Bárbara of the Pleasures.\u003c/p>\n\u003cp>But age and disease caught up to her. One chronicler, Hermeto Lima, wrote in 1921 of a hole in Bárbara’s nose, her bulging eyes, scratched eyelids and skeletal hands.\u003c/p>\n\u003cp>[aside postid='arts_13919589']To rejuvenate, Bárbara started washing with animal blood. When that failed, it’s said, she used blood from infants abandoned in the Wheel of the Exposed — the revolving compartment for foundlings outside a Catholic institution. Between 1738 and 1848, 20,966 babies were left in the wheel, according to text of an imperial ministry report provided by Esther Arantes, a retired professor in the infancy department of the State University of Rio de Janeiro.\u003c/p>\n\u003cp>Arantes’ archival research yielded no evidence of Bárbara, but Rio’s rumor mill claimed otherwise:\u003c/p>\n\u003cp>Whenever someone brought a baby to the wheel, “the miserable woman, like a toad, came out from her hiding place, and ran to steal the child,” Lima wrote, adding Bárbara would make sure to drip its blood upon her leprous ulcers.\u003c/p>\n\u003cp>Bárbara disappeared, but her story lingers. Word is that she still prowls Teles Arch by night, surviving on the blood of babes.\u003c/p>\n\u003cp>— By David Biller in Rio de Janeiro\u003c/p>\n\u003ch2>Nigeria: Madam Koi Koi\u003c/h2>\n\u003cp>In Nigeria, the “Madam Koi Koi” ghost story was a nightmare for students in boarding secondary schools.\u003c/p>\n\u003cp>The “madam” in question often walked around hostels with her red heels, especially at night, the sound of “koi koi” trailing behind her. You dare not come out if anyone raised an alarm that they heard the sound. Sometimes horrified students ran out and hostels were shut until morning, or even for days.\u003c/p>\n\u003cp>The backstory? No one knows for sure, but one popular theory was that she was fired as a teacher and died days later — vengeful, jobless and sad.\u003c/p>\n\u003cp>— By Dyepkazah Shibayan in Abuja, Nigeria\u003c/p>\n\u003ch2>Britain: The Talbot Hotel\u003c/h2>\n\u003cp>A sobbing woman. Ghostly, dressed in white — or, sometimes, black. And a storied oak staircase with royal connections.\u003c/p>\n\u003cp>The spooky stories revolve around a staircase that still stands at The Talbot Hotel in Oundle — a United Kingdom market town about 85 miles (135 kilometers) north of London that’s been around since the 1500s.\u003c/p>\n\u003cp>[aside postid='arts_13892672']Mary, Queen of Scots — rival to England’s Queen Elizabeth I — is said to have descended the very same flight of steps on the way to her execution in 1587. But at the time, the multilevel structure was part of nearby Fotheringhay Castle, the site of Mary’s beheading.\u003c/p>\n\u003cp>Nearly four decades later, the Talbot was rebuilt using stones and other material salvaged from the abandoned Fotheringhay — including the castle’s storied staircase.\u003c/p>\n\u003cp>Guests and staff have reported seeing a ghostly woman on the stairs, and some have said they heard sobbing in the wee hours — all thought to be the doomed queen. The Associated Press has visited several times and can confirm quality coffee and cakes, but not the presence of ghosts.\u003c/p>\n\u003cp>— By Laurie Kellman in London\u003c/p>\n\u003cfigure id=\"attachment_13967514\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg\" alt=\"A ghostly woman wearing a long white dress stands on some train tracks, at a distance.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A train collision killed 139 passengers in 1987, giving rise to many mystical stories around the railway. \u003ccite>(Lord Henri Voton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Indonesia: Ghosts of the Bintaro train tragedy\u003c/h2>\n\u003cp>The Bintaro train tragedy of October 1987 is well known in Indonesia. The head-on collision between two commuter trains in the southern area of Jakarta is considered one the deadliest train accidents in the country’s history.\u003c/p>\n\u003cp>The collision killed 139 passengers, giving rise to many mystical stories around the railway.\u003c/p>\n\u003cp>In the 37 years since the crash, many local residents and railway workers have reported seeing apparitions of people dressed in old, bloodstained clothing, wandering near the tracks where the tragedy took place. As the local urban legend goes, these ghostly figures are believed to be the spirits of those who perished in the accident and remain unable to move on to the afterlife. Some people also say there was a figure wandering around and looking for his body parts.\u003c/p>\n\u003cp>In 2013, another train accident happened at the same track, only 200 meters (yards) from the 1987 accident. The commuter train hit a petrol truck in the crossing gate, killing seven people, including the train engineer.\u003c/p>\n\u003cp>— By Edna Tarigan in Jakarta, Indonesia\u003c/p>\n\u003ch2>The Philippines: The ghost on Balete Drive\u003c/h2>\n\u003cp>Ask anyone in Manila about Balete Drive and many will associate it with the mysterious “white lady” who appears at night.\u003c/p>\n\u003cp>The street, named after trees that used to line its sidewalks in suburban Quezon city, has been the subject of scary stories that have been told and retold since the 1950s. There are claims that a beautiful woman with long hair dressed in white would sometimes suddenly appear at night — then just disappear without a trace.\u003c/p>\n\u003cp>[aside postid='arts_13881990']It is said that the sightings were reported by taxi drivers working on late-night shifts. Some claim she would appear asking for a ride and then suddenly disappear from the passenger seat as the vehicle moves. Others say her image would appear at the rearview mirror of drivers driving alone and vanish just as quickly.\u003c/p>\n\u003cp>“I haven’t seen her,” says 53-year-old Roberto Perez, who works part-time near Balete Drive, “but when I pass there between midnight to about 1:30, I get goosebumps, so I just quickly turn to another street.”\u003c/p>\n\u003cp>The tale’s origins are unknown. There are varying accounts why the ghost appears along Balete Drive, but the most common story is that decades ago, a girl died due to a car accident along the street. Horror movies in the Philippines have been produced based on this urban legend.\u003c/p>\n\u003cp>— By Celine Rosario in Bangkok and Aaron Favila in Manila, Philippines\u003c/p>\n\u003cfigure id=\"attachment_13967492\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967492 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg\" alt=\"Closeup of a bronze statue of a bride with cobwebs on her face.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A marble bride in Argentina. Because marble brides are everywhere. \u003ccite>(Rosie Betancourt/Jeffrey Greenberg/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hungary: The marble bride\u003c/h2>\n\u003cp>Through the branches of stately trees on a leafy avenue in Hungary’s capital, passersby can spot an unusual figure keeping solemn watch from above: the statue of a woman with a mournful expression peering from a stone balcony.\u003c/p>\n\u003cp>The sculpture, known as the “marble bride,” is unlike any of the other frescoes on surrounding buildings in Budapest, and the mystery of its presence has produced legends going back nearly a century.\u003c/p>\n\u003cp>In one, a young couple shared an apartment in the building when the husband was called to fight in World War I. The wife waited patiently on the balcony each day for his return, and when a letter arrived with news of his death on the front, the woman died of a broken heart.\u003c/p>\n\u003cp>But the letter had been mistaken. When the husband returned home and found his wife had died, he had a sculpture carved in her honor and placed where she had spent so many days faithfully waiting.\u003c/p>\n\u003cp>Another legend says that the husband never returned from the war and, unable to accept his death, the woman stayed waiting on the balcony and eventually turned to stone, and still waits today for a reunion that will never come.\u003c/p>\n\u003cp>— By Justin Spike in Budapest, Hungary\u003c/p>\n\u003ch2>Thailand: Lady Nak of Phra Khanong\u003c/h2>\n\u003cp>Bangkok is home to one of Thailand’s most famous pieces of folklore: the tragic love of Mae Nak, or the Lady Nak of Phra Khanong.\u003c/p>\n\u003cp>[aside postid='arts_13917340']The young and pregnant Nak was waiting for her husband, Mak, to come back from war to their home on the banks of Phra Khanong canal. Nak and her baby died during childbirth, but Mak still came home to see them waiting. With his unwavering love, Mak rejected warnings that Nak was a ghost until he saw her stretching her arm from the upper-floor porch to the ground to pick up a lime. He fled, and Nak started terrorizing the town in grief and fury.\u003c/p>\n\u003cp>In one variation of the story’s ending, Nak was stopped either by a shaman who captured her in a clay jar, or a powerful Buddhist monk who performed a rite to rest her spirit in peace.\u003c/p>\n\u003cp>The story has been reinterpreted into dozens of movies, with the critically acclaimed 1999 version becoming the first Thai movie to gross over 100 million baht — about $2.7 million at the time. The shrine dedicated to Nak at Wat Mahabut, the temple where her body is believed to be buried, is famous for worshippers seeing their prayers about love and children being answered.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>— By Jintamas Saksornchai in Bangkok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some are well-worn warnings as familiar as the changing of seasons. Others are slow burns that end with a bang. Still others are just plain eerie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stories of spiritual entities, paranormal activity and creepy cryptids are passed through generations the world over, becoming local legends that only sometimes reach across borders and cultures.\u003c/p>\n\u003cp>So if the sordid tales you grew up with no longer make you shiver, it’s time to reanimate your roster with global tales of ghosts, hauntings, and petrifying processions.\u003c/p>\n\u003cp>With Halloween nigh, and the season in many parts of the world ripe for campfires and spooky stories, people gravitate toward fear even in a complex and sometimes scary world. Here are some favorites — lore and fiction, with maybe some truth sprinkled throughout — that The Associated Press gathered from its journalists around the planet:\u003c/p>\n\u003cfigure id=\"attachment_13967490\" class=\"wp-caption aligncenter\" style=\"max-width: 2464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg\" alt=\"An Asian person in white face paint posing in a menacing position.\" width=\"2464\" height=\"1648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg 2464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-2048x1370.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1920x1284.jpg 1920w\" sizes=\"(max-width: 2464px) 100vw, 2464px\">\u003cfigcaption class=\"wp-caption-text\">Yo-ho, yo-ho, beware fake paper money scatterings! \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>China: The corpse walkers\u003c/h2>\n\u003cp>If you were out on the road in China in the old days — if you believe the stories, that is — you might have encountered a strange procession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First, a man carrying a white paper lantern and scattering fake paper money ahead of them, chanting, “Yo ho, yo ho.” Then, a towering, hooded black figure wearing a ghastly mask and marching in an awkward, wooden gait. Bringing up the rear, another man guiding the giant by touch, perhaps with a black cat.\u003c/p>\n\u003cp>They were corpse walkers — and the giant was the corpse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bad things happen when someone gets buried far from home: Without descendants to feed their spirit and keep their grave clean, they’ll have a hard time settling in. They could even come back as a hungry ghost. So when a traveler died, the family would hire people who knew the strange art of walking a stiff body home.\u003c/p>\n\u003cp>When interviewer Liao Yiwu asked about memories of corpse walkers in the 2000s, some said they’d use a black cat to imbue the body with static electricity to make it walk. Others said there was a third man hiding under the cloak and giving the corpse a piggyback ride.\u003c/p>\n\u003cp>People kept their distance, he wrote, but the corpse walkers were always welcome at inns because they paid three times the normal rate and were said to bring good luck.\u003c/p>\n\u003cp>— By David Cohen in Bangkok\u003c/p>\n\u003ch2>France: The legend of St. Denis\u003c/h2>\n\u003cp>One of France’s oldest spooky legends is also one of its most gruesome, because it involves a walking headless corpse.\u003c/p>\n\u003cp>Said to have been Paris’ first bishop, Denis — later St. Denis — went on to lend his name to what is now the northern Paris suburb of Saint-Denis, famous for its magnificent basilica, its soccer stadium and the Olympic village that housed athletes during the Paris Games.\u003c/p>\n\u003cp>The third-century Roman rulers of what was then Gaul were apparently less than thrilled that Denis and companions Rustique and Éleuthère were making converts. Even after tossing them in prison, Denis continued to celebrate Mass. In some accounts, Denis suffered all manner of unspeakable tortures to make him renounce his faith — not just run-of-the-mill flagellation, but also mauling by famished wild beasts and being locked in a scorching oven.\u003c/p>\n\u003cp>Eventually, the three were sentenced to death and beheaded.\u003c/p>\n\u003cp>Legend has it that Denis’ corpse, lifted by two angels, picked up his severed head and walked from the Mount of Martyrs — the supposed execution site now called Montmartre — for about 6 kilometers (nearly 4 miles) before collapsing in the village of Catulliacum, now the town of Saint-Denis.\u003c/p>\n\u003cp>In Montmartre today, Suzanne Buisson Square has a statue of St. Denis holding his head, which he is said to have washed in the waters of a fountain there before staggering away with it.\u003c/p>\n\u003cp>— By John Leicester in Paris\u003c/p>\n\u003ch2>Mongolia: The death worm\u003c/h2>\n\u003cp>Slithering beneath the vast dunes of the Gobi Desert, legend has it, is the monstrous Mongolian Death Worm. It kills prey by squirting lethal venom and can even electrocute from a distance. So goes the folklore that has since inspired depictions of deadly giant worms in movies and fiction. In Mongolia, the creature is known as olgoi khorkhoi, which roughly translates as “intestine worm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The critter became known abroad after American paleontologist and explorer Roy Chapman Andrews wrote about it in his 1926 book, “On the Trail of Ancient Man: A Narrative of the Field Work of the Central Asiatic Expeditions.” During a meeting with the Mongolian premier, Andrews was asked to capture a specimen of the giant worm.\u003c/p>\n\u003cp>“None of those present ever had seen the creature, but they all firmly believed in its existence and described it minutely,” he wrote. “It is shaped like a sausage about two feet long, has no head nor legs and is so poisonous that merely to touch it means instant death.”\u003c/p>\n\u003cp>Some believe the lore began with a more common animal — a snake called the Tartar sand boa. Others, undeterred, believe the giant worms exists. Subsequent expeditions have yet to yield any proof.\u003c/p>\n\u003cp>— By Emily Wang Fujiyama in Beijing\u003c/p>\n\u003cfigure id=\"attachment_13967491\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967491 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg\" alt=\"A traditional print depicting a woman throwing a knife at a man's chest. Behind her stands a demon with a a bent nose and long ears.\" width=\"2560\" height=\"1771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-2048x1416.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1920x1328.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maybe don’t get involved with Bárbara, fellas… \u003ccite>(Sepia Times/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brazil: Bárbara of the Pleasures\u003c/h2>\n\u003cp>It’s the turn of the 19th century, and colonial Rio de Janeiro is bustling. There are merchants, vendors, enslaved people, sailors — and a Portuguese immigrant, about 20 years old, named Bárbara. Legend says she stabbed her sleeping husband to run off with a lover, who then began exploiting her. Bárbara killed him, too, and was on her own.\u003c/p>\n\u003cp>As the story goes, she turned to sex work inside the Teles Arch. The dank, dark passage led off the plaza where the Portuguese emperor sat, and members of the royal court became faithful clients of the beautiful courtesan known as Bárbara of the Pleasures.\u003c/p>\n\u003cp>But age and disease caught up to her. One chronicler, Hermeto Lima, wrote in 1921 of a hole in Bárbara’s nose, her bulging eyes, scratched eyelids and skeletal hands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To rejuvenate, Bárbara started washing with animal blood. When that failed, it’s said, she used blood from infants abandoned in the Wheel of the Exposed — the revolving compartment for foundlings outside a Catholic institution. Between 1738 and 1848, 20,966 babies were left in the wheel, according to text of an imperial ministry report provided by Esther Arantes, a retired professor in the infancy department of the State University of Rio de Janeiro.\u003c/p>\n\u003cp>Arantes’ archival research yielded no evidence of Bárbara, but Rio’s rumor mill claimed otherwise:\u003c/p>\n\u003cp>Whenever someone brought a baby to the wheel, “the miserable woman, like a toad, came out from her hiding place, and ran to steal the child,” Lima wrote, adding Bárbara would make sure to drip its blood upon her leprous ulcers.\u003c/p>\n\u003cp>Bárbara disappeared, but her story lingers. Word is that she still prowls Teles Arch by night, surviving on the blood of babes.\u003c/p>\n\u003cp>— By David Biller in Rio de Janeiro\u003c/p>\n\u003ch2>Nigeria: Madam Koi Koi\u003c/h2>\n\u003cp>In Nigeria, the “Madam Koi Koi” ghost story was a nightmare for students in boarding secondary schools.\u003c/p>\n\u003cp>The “madam” in question often walked around hostels with her red heels, especially at night, the sound of “koi koi” trailing behind her. You dare not come out if anyone raised an alarm that they heard the sound. Sometimes horrified students ran out and hostels were shut until morning, or even for days.\u003c/p>\n\u003cp>The backstory? No one knows for sure, but one popular theory was that she was fired as a teacher and died days later — vengeful, jobless and sad.\u003c/p>\n\u003cp>— By Dyepkazah Shibayan in Abuja, Nigeria\u003c/p>\n\u003ch2>Britain: The Talbot Hotel\u003c/h2>\n\u003cp>A sobbing woman. Ghostly, dressed in white — or, sometimes, black. And a storied oak staircase with royal connections.\u003c/p>\n\u003cp>The spooky stories revolve around a staircase that still stands at The Talbot Hotel in Oundle — a United Kingdom market town about 85 miles (135 kilometers) north of London that’s been around since the 1500s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mary, Queen of Scots — rival to England’s Queen Elizabeth I — is said to have descended the very same flight of steps on the way to her execution in 1587. But at the time, the multilevel structure was part of nearby Fotheringhay Castle, the site of Mary’s beheading.\u003c/p>\n\u003cp>Nearly four decades later, the Talbot was rebuilt using stones and other material salvaged from the abandoned Fotheringhay — including the castle’s storied staircase.\u003c/p>\n\u003cp>Guests and staff have reported seeing a ghostly woman on the stairs, and some have said they heard sobbing in the wee hours — all thought to be the doomed queen. The Associated Press has visited several times and can confirm quality coffee and cakes, but not the presence of ghosts.\u003c/p>\n\u003cp>— By Laurie Kellman in London\u003c/p>\n\u003cfigure id=\"attachment_13967514\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg\" alt=\"A ghostly woman wearing a long white dress stands on some train tracks, at a distance.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A train collision killed 139 passengers in 1987, giving rise to many mystical stories around the railway. \u003ccite>(Lord Henri Voton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Indonesia: Ghosts of the Bintaro train tragedy\u003c/h2>\n\u003cp>The Bintaro train tragedy of October 1987 is well known in Indonesia. The head-on collision between two commuter trains in the southern area of Jakarta is considered one the deadliest train accidents in the country’s history.\u003c/p>\n\u003cp>The collision killed 139 passengers, giving rise to many mystical stories around the railway.\u003c/p>\n\u003cp>In the 37 years since the crash, many local residents and railway workers have reported seeing apparitions of people dressed in old, bloodstained clothing, wandering near the tracks where the tragedy took place. As the local urban legend goes, these ghostly figures are believed to be the spirits of those who perished in the accident and remain unable to move on to the afterlife. Some people also say there was a figure wandering around and looking for his body parts.\u003c/p>\n\u003cp>In 2013, another train accident happened at the same track, only 200 meters (yards) from the 1987 accident. The commuter train hit a petrol truck in the crossing gate, killing seven people, including the train engineer.\u003c/p>\n\u003cp>— By Edna Tarigan in Jakarta, Indonesia\u003c/p>\n\u003ch2>The Philippines: The ghost on Balete Drive\u003c/h2>\n\u003cp>Ask anyone in Manila about Balete Drive and many will associate it with the mysterious “white lady” who appears at night.\u003c/p>\n\u003cp>The street, named after trees that used to line its sidewalks in suburban Quezon city, has been the subject of scary stories that have been told and retold since the 1950s. There are claims that a beautiful woman with long hair dressed in white would sometimes suddenly appear at night — then just disappear without a trace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is said that the sightings were reported by taxi drivers working on late-night shifts. Some claim she would appear asking for a ride and then suddenly disappear from the passenger seat as the vehicle moves. Others say her image would appear at the rearview mirror of drivers driving alone and vanish just as quickly.\u003c/p>\n\u003cp>“I haven’t seen her,” says 53-year-old Roberto Perez, who works part-time near Balete Drive, “but when I pass there between midnight to about 1:30, I get goosebumps, so I just quickly turn to another street.”\u003c/p>\n\u003cp>The tale’s origins are unknown. There are varying accounts why the ghost appears along Balete Drive, but the most common story is that decades ago, a girl died due to a car accident along the street. Horror movies in the Philippines have been produced based on this urban legend.\u003c/p>\n\u003cp>— By Celine Rosario in Bangkok and Aaron Favila in Manila, Philippines\u003c/p>\n\u003cfigure id=\"attachment_13967492\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967492 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg\" alt=\"Closeup of a bronze statue of a bride with cobwebs on her face.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A marble bride in Argentina. Because marble brides are everywhere. \u003ccite>(Rosie Betancourt/Jeffrey Greenberg/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hungary: The marble bride\u003c/h2>\n\u003cp>Through the branches of stately trees on a leafy avenue in Hungary’s capital, passersby can spot an unusual figure keeping solemn watch from above: the statue of a woman with a mournful expression peering from a stone balcony.\u003c/p>\n\u003cp>The sculpture, known as the “marble bride,” is unlike any of the other frescoes on surrounding buildings in Budapest, and the mystery of its presence has produced legends going back nearly a century.\u003c/p>\n\u003cp>In one, a young couple shared an apartment in the building when the husband was called to fight in World War I. The wife waited patiently on the balcony each day for his return, and when a letter arrived with news of his death on the front, the woman died of a broken heart.\u003c/p>\n\u003cp>But the letter had been mistaken. When the husband returned home and found his wife had died, he had a sculpture carved in her honor and placed where she had spent so many days faithfully waiting.\u003c/p>\n\u003cp>Another legend says that the husband never returned from the war and, unable to accept his death, the woman stayed waiting on the balcony and eventually turned to stone, and still waits today for a reunion that will never come.\u003c/p>\n\u003cp>— By Justin Spike in Budapest, Hungary\u003c/p>\n\u003ch2>Thailand: Lady Nak of Phra Khanong\u003c/h2>\n\u003cp>Bangkok is home to one of Thailand’s most famous pieces of folklore: the tragic love of Mae Nak, or the Lady Nak of Phra Khanong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The young and pregnant Nak was waiting for her husband, Mak, to come back from war to their home on the banks of Phra Khanong canal. Nak and her baby died during childbirth, but Mak still came home to see them waiting. With his unwavering love, Mak rejected warnings that Nak was a ghost until he saw her stretching her arm from the upper-floor porch to the ground to pick up a lime. He fled, and Nak started terrorizing the town in grief and fury.\u003c/p>\n\u003cp>In one variation of the story’s ending, Nak was stopped either by a shaman who captured her in a clay jar, or a powerful Buddhist monk who performed a rite to rest her spirit in peace.\u003c/p>\n\u003cp>The story has been reinterpreted into dozens of movies, with the critically acclaimed 1999 version becoming the first Thai movie to gross over 100 million baht — about $2.7 million at the time. The shrine dedicated to Nak at Wat Mahabut, the temple where her body is believed to be buried, is famous for worshippers seeing their prayers about love and children being answered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>— By Jintamas Saksornchai in Bangkok\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Musical, Pulpy Crime Thriller, ‘Emilia Pérez’ Swings for the Fences",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Set around Mexico City, this ambitious Netfix film is about a lot: family, ambition, cartels, gender-affirmation and corruption.",
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"title": "Movie Review: ‘Emilia Pérez’ Is a Pulpy Crime Thriller | KQED",
"description": "Set around Mexico City, this ambitious Netfix film is about a lot: family, ambition, cartels, gender-affirmation and corruption.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4h7j_EcZ5fU'\n title='//www.youtube.com/embed/4h7j_EcZ5fU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s election week. Stakes are high. Nerves are frayed. And every reasonable person in America is sick and tired of waking up to a mailbox jammed full of unreasonably large flyers. You might be wondering how to get through this home stretch. Maybe you’ve run out of new ways to take mental health breaks.\u003c/p>\n\u003cp>Fear not voters, for we have figured out the perfect distraction. His name is Merlin, he’s a Davis-dwelling house pig and he knows how to \u003ca href=\"https://www.kqed.org/arts/13893259/get-to-know-tiktoks-talking-animals-bunny-billi-bastian-and-steve-b\">use those talking buttons to communicate\u003c/a> with his human roommates. His primary concern in the world is consuming vegetables and ice cubes and, when he doesn’t get them on demand, he has … feelings.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7401228664081321258\" data-video-id=\"7401228664081321258\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>istg he’s going through his teenager phase. he’ll be listening to my chemical romance in no time\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7401228592551594794?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And it’s not just door-slamming Merlin is willing to employ when he doesn’t get his way. Check out his response to not getting to eat a snack that was never intended for him in the first place.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7424261243382271275\" data-video-id=\"7424261243382271275\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>I sincerely hope none of you ever have to experience a hoof to the tata\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7424261193591753514?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Delightfully, he also hits a “child abuse!” button every time his doggie roommate Maverick wants to play.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7415682202064686379\" data-video-id=\"7415682202064686379\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin had a lot to say this morning\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7415682162273684267?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Merlin’s owner Mina Alali is a \u003ca href=\"https://www.youtube.com/watch?v=sytGdkZwDHQ\">singer-songwriter\u003c/a> and influencer who also lives with \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7422819374307855658?lang=en\">pigeons, rats and a bearded dragon\u003c/a>, in addition to taking care of \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7416792818099785003?lang=en\">a rescued cow named Moo\u003c/a> that lives elsewhere. Together, they have over 92 million (!) likes on TikTok and 2.3 million followers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alali, along with her husband Alex, makes keeping this menagerie seem surprisingly normal, taking Merlin for (incredibly slow) walks.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7411933177687706923\" data-video-id=\"7411933177687706923\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>My boy really said, “no pictures or videos unless I get a treat🐽”\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7411933162856516394?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As well as for hangouts at the Davis farmer’s market.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7417215269124214059\" data-video-id=\"7417215269124214059\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>king merlin stopped by for a visit at our local farmer’s market 🙂\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7417215268013411114?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Alali is also teaching Merlin impeccable table manners, as one must with any willful child.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7419799796900302122\" data-video-id=\"7419799796900302122\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Had to go over manners with Merlin cause he’s getting sassier by the day\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7419799805175565098?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Especially one that will wreck a kitchen the second he’s left unattended.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7374932270144113962\" data-video-id=\"7374932270144113962\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>reason number 526 why you should maybe reconsider adopting a pig\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7374932289119062827?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>At least Merlin is learning to clean on command.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7426452931735555374\" data-video-id=\"7426452931735555374\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin still does housekeeping for anyone who’s interested, rate is 15 ice cubes & 18 blueberries per hour\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7426452875766795054?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And when he’s content? He’s a perfect angel.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7385301244438482219\" data-video-id=\"7385301244438482219\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a> my friend, simira, said watching this was more therapeutic than her last therapy session LMAO \u003ca title=\"merlinthepig\" href=\"https://www.tiktok.com/tag/merlinthepig?refer=embed\" target=\"_blank\" rel=\"noopener\">#merlinthepig\u003c/a> \u003ca title=\"rats\" href=\"https://www.tiktok.com/tag/rats?refer=embed\" target=\"_blank\" rel=\"noopener\">#rats\u003c/a> \u003ca title=\"ratsoftiktok\" href=\"https://www.tiktok.com/tag/ratsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#ratsoftiktok\u003c/a> \u003ca title=\"cutestvideos\" href=\"https://www.tiktok.com/tag/cutestvideos?refer=embed\" target=\"_blank\" rel=\"noopener\">#cutestvideos\u003c/a> \u003ca title=\"pigsoftiktok\" href=\"https://www.tiktok.com/tag/pigsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#pigsoftiktok\u003c/a> \u003ca title=\"mina\" href=\"https://www.tiktok.com/tag/mina?refer=embed\" target=\"_blank\" rel=\"noopener\">#mina\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7385301266408278830?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(Merlin’s love for his rat siblings is intense. Alali has previously disclosed that she had to put extra locks on her rat cage because \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7394550883750612266?lang=en\">Merlin kept letting his rodent friends out\u003c/a> when she wasn’t looking. “I would come home and there would just be rats on his back,” she said, “crawling around the house.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, any time you need a break this week, remember: There’s always Merlin the pig. You can follow him, Alali and the whole gang on \u003ca href=\"https://www.tiktok.com/@mina.alali?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.instagram.com/merlinthepig/?hl=en\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/p/Merlin-The-Pig-61552154128401/\">Facebook\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s election week. Stakes are high. Nerves are frayed. And every reasonable person in America is sick and tired of waking up to a mailbox jammed full of unreasonably large flyers. You might be wondering how to get through this home stretch. Maybe you’ve run out of new ways to take mental health breaks.\u003c/p>\n\u003cp>Fear not voters, for we have figured out the perfect distraction. His name is Merlin, he’s a Davis-dwelling house pig and he knows how to \u003ca href=\"https://www.kqed.org/arts/13893259/get-to-know-tiktoks-talking-animals-bunny-billi-bastian-and-steve-b\">use those talking buttons to communicate\u003c/a> with his human roommates. His primary concern in the world is consuming vegetables and ice cubes and, when he doesn’t get them on demand, he has … feelings.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7401228664081321258\" data-video-id=\"7401228664081321258\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>istg he’s going through his teenager phase. he’ll be listening to my chemical romance in no time\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7401228592551594794?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s not just door-slamming Merlin is willing to employ when he doesn’t get his way. Check out his response to not getting to eat a snack that was never intended for him in the first place.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7424261243382271275\" data-video-id=\"7424261243382271275\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>I sincerely hope none of you ever have to experience a hoof to the tata\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7424261193591753514?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Delightfully, he also hits a “child abuse!” button every time his doggie roommate Maverick wants to play.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7415682202064686379\" data-video-id=\"7415682202064686379\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin had a lot to say this morning\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7415682162273684267?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Merlin’s owner Mina Alali is a \u003ca href=\"https://www.youtube.com/watch?v=sytGdkZwDHQ\">singer-songwriter\u003c/a> and influencer who also lives with \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7422819374307855658?lang=en\">pigeons, rats and a bearded dragon\u003c/a>, in addition to taking care of \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7416792818099785003?lang=en\">a rescued cow named Moo\u003c/a> that lives elsewhere. Together, they have over 92 million (!) likes on TikTok and 2.3 million followers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alali, along with her husband Alex, makes keeping this menagerie seem surprisingly normal, taking Merlin for (incredibly slow) walks.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7411933177687706923\" data-video-id=\"7411933177687706923\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>My boy really said, “no pictures or videos unless I get a treat🐽”\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7411933162856516394?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well as for hangouts at the Davis farmer’s market.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7417215269124214059\" data-video-id=\"7417215269124214059\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>king merlin stopped by for a visit at our local farmer’s market 🙂\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7417215268013411114?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alali is also teaching Merlin impeccable table manners, as one must with any willful child.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7419799796900302122\" data-video-id=\"7419799796900302122\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Had to go over manners with Merlin cause he’s getting sassier by the day\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7419799805175565098?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Especially one that will wreck a kitchen the second he’s left unattended.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7374932270144113962\" data-video-id=\"7374932270144113962\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>reason number 526 why you should maybe reconsider adopting a pig\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7374932289119062827?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least Merlin is learning to clean on command.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7426452931735555374\" data-video-id=\"7426452931735555374\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin still does housekeeping for anyone who’s interested, rate is 15 ice cubes & 18 blueberries per hour\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7426452875766795054?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when he’s content? He’s a perfect angel.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7385301244438482219\" data-video-id=\"7385301244438482219\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a> my friend, simira, said watching this was more therapeutic than her last therapy session LMAO \u003ca title=\"merlinthepig\" href=\"https://www.tiktok.com/tag/merlinthepig?refer=embed\" target=\"_blank\" rel=\"noopener\">#merlinthepig\u003c/a> \u003ca title=\"rats\" href=\"https://www.tiktok.com/tag/rats?refer=embed\" target=\"_blank\" rel=\"noopener\">#rats\u003c/a> \u003ca title=\"ratsoftiktok\" href=\"https://www.tiktok.com/tag/ratsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#ratsoftiktok\u003c/a> \u003ca title=\"cutestvideos\" href=\"https://www.tiktok.com/tag/cutestvideos?refer=embed\" target=\"_blank\" rel=\"noopener\">#cutestvideos\u003c/a> \u003ca title=\"pigsoftiktok\" href=\"https://www.tiktok.com/tag/pigsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#pigsoftiktok\u003c/a> \u003ca title=\"mina\" href=\"https://www.tiktok.com/tag/mina?refer=embed\" target=\"_blank\" rel=\"noopener\">#mina\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7385301266408278830?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Merlin’s love for his rat siblings is intense. Alali has previously disclosed that she had to put extra locks on her rat cage because \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7394550883750612266?lang=en\">Merlin kept letting his rodent friends out\u003c/a> when she wasn’t looking. “I would come home and there would just be rats on his back,” she said, “crawling around the house.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, any time you need a break this week, remember: There’s always Merlin the pig. You can follow him, Alali and the whole gang on \u003ca href=\"https://www.tiktok.com/@mina.alali?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.instagram.com/merlinthepig/?hl=en\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/p/Merlin-The-Pig-61552154128401/\">Facebook\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Unmoving Camera and De-Aging Technology Make ‘Here’ Painful to Watch",
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"content": "\u003cp>Robert Zemeckis’ latest movie is insanely ambitious, starting with the dinosaurs and ending in present day with the Roomba. But it’s fixed on just one spot.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> reunites Zemeckis, screenwriter Eric Roth and actors Tom Hanks and Robin Wright, who collaborated on \u003cem>Forrest Gump\u003c/em>. This time, they’re not telling the larger-than-life story of a man moving through time — they’re telling the centuries-old story of a living room and all the different people who lived there.\u003c/p>\n\u003cp>[aside postid='arts_13967200']In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>[aside postid='arts_13967293']Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>[aside postid='arts_13967226']One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>[aside postid='arts_13963560']It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13961542']This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Move over, Fat Bear Week. A bat beauty contest is now stepping up to the plate.\u003c/p>\n\u003cp>The Bureau of Land Management has hosted \u003ca href=\"https://www.facebook.com/BLMNational/posts/pfbid0SKLtSR3fw7X6hXyYwWm9s4SzvLie3obhKHe2w44xVPiTkVPNMFEHSh6Dz9mS52aZl\">the online competition\u003c/a> since 2019 to raise awareness about the animal’s ecological importance. The federal agency posts photos of bats on its \u003ca href=\"https://www.facebook.com/BLMNational\">Facebook\u003c/a> and \u003ca href=\"https://www.instagram.com/mypubliclands/\">Instagram\u003c/a> accounts, and then asks people to vote for the cutest one. The bats are part of wild populations living on public lands, and are photographed by agency staff.\u003c/p>\n\u003cp>The first round of voting began Thursday and pitted a Townsend’s big-eared bat named “Sir Flaps-A-Lot” from Utah against a hoary bat fittingly named “Hoary Potter” from Oregon. The contest coincides with the start of Bat Week, during which bat experts across the country and the world hold educational events celebrating the only flying mammal.\u003c/p>\n\u003cp>https://x.com/BLMWyoming/status/1850205948154880265\u003c/p>\n\u003cp>The defining feature of a Townsend’s big-eared bat is, unsurprisingly, its ears, which can reach a length of 1.5 inches (38 millimeters). The large ears funnel sound into the ear canal, provide lift during flight and help with temperature regulation, the Bureau of Land Management said in its Facebook post presenting the first two contestants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hoary bats, meanwhile, are known for swift flight and wrapping themselves in their own tails to mimic leaves and hide from predators, the agency said. Due to this attribute, it estimated Hoary Potter would be “the perfect candidate for seeker on this year’s Quidditch team,” referring to the game in Harry Potter that is played on flying brooms.\u003c/p>\n\u003cp>[aside postid='arts_13965878']Neither species are federally listed as endangered. However, Oregon has included them on its list of species needing conservation attention, and Utah has done the same for the Townsend’s big-eared bat.\u003c/p>\n\u003cp>Emma Busk, the BLM wildlife technician who photographed Hoary Potter, said bats around the world play a key role in the environment by eating insects and pollinating flowers and fruits. But they’re increasingly facing the threats of habitat loss, disease and light pollution, and are often misunderstood as scary disease carriers, she said.\u003c/p>\n\u003cp>“There’s a lot of fear and misconceptions around bats,” she said, noting that people often associate rabies with the animal. “But less than 1% of all bat populations actually carry rabies, and the bat-to-human disease transmission is actually really low.”\u003c/p>\n\u003cfigure id=\"attachment_13967346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png\" alt=\"Close up of a furry little bat with pointed ears lying on a log.\" width=\"2000\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-768x568.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1536x1136.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1920x1420.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A very cute bat named Hoary Potter. Just go with it. \u003ccite>(Emma Busk/Bureau of Land Management via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busk is rooting for Hoary Potter in the hopes that an Oregon bat will win the beauty contest for a third time. Last year, “William ShakespEAR,” a female Townsend’s big-eared bat from southern Oregon whom Busk also photographed, claimed the crown. And in 2022, a canyon bat named “Barbara” similarly hailing from southern Oregon was declared the winner.\u003c/p>\n\u003cp>[aside postid='arts_13962787']“Our effort every year is to just collect as much data as we can on the species in our resource area, so that we do know how to better protect them moving forward,” Busk said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The beauty contest will continue in rounds over the next week. It’s timed to wrap up on Halloween next Thursday, when the winner will be announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Neither species are federally listed as endangered. However, Oregon has included them on its list of species needing conservation attention, and Utah has done the same for the Townsend’s big-eared bat.\u003c/p>\n\u003cp>Emma Busk, the BLM wildlife technician who photographed Hoary Potter, said bats around the world play a key role in the environment by eating insects and pollinating flowers and fruits. But they’re increasingly facing the threats of habitat loss, disease and light pollution, and are often misunderstood as scary disease carriers, she said.\u003c/p>\n\u003cp>“There’s a lot of fear and misconceptions around bats,” she said, noting that people often associate rabies with the animal. “But less than 1% of all bat populations actually carry rabies, and the bat-to-human disease transmission is actually really low.”\u003c/p>\n\u003cfigure id=\"attachment_13967346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png\" alt=\"Close up of a furry little bat with pointed ears lying on a log.\" width=\"2000\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-768x568.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1536x1136.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1920x1420.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A very cute bat named Hoary Potter. Just go with it. \u003ccite>(Emma Busk/Bureau of Land Management via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busk is rooting for Hoary Potter in the hopes that an Oregon bat will win the beauty contest for a third time. Last year, “William ShakespEAR,” a female Townsend’s big-eared bat from southern Oregon whom Busk also photographed, claimed the crown. And in 2022, a canyon bat named “Barbara” similarly hailing from southern Oregon was declared the winner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13967331\" class=\"wp-caption aligncenter\" style=\"max-width: 1344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png\" alt=\"A book cover featuring an illustration of flowers against a yellow circle on a black background.\" width=\"1344\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png 1344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-800x1190.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1020x1518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1032x1536.png 1032w\" sizes=\"(max-width: 1344px) 100vw, 1344px\">\u003cfigcaption class=\"wp-caption-text\">‘Masquerade’ by Mike Fu. \u003ccite>(Tin House Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meadow is coming up on 10 years living in New York, and he’s still adrift. His boyfriend ghosted him, his current residence is actually a housesitting gig, and his bartending job isn’t exactly filling his parents with pride. But this summer, strange things keep happening that will make or break him.\u003c/p>\n\u003cp>[aside postid='arts_13967077']Right at the start of Mike Fu’s debut novel, \u003cem>Masquerade\u003c/em>, Meadow finds a strange book called \u003cem>The Masquerade\u003c/em> — written by someone with his same name.\u003c/p>\n\u003cp>In a rush to catch the plane to visit his parents in Shanghai, he stuffs the book in his bag. As he reads it, he finds uncanny parallels between his life and the novel.\u003c/p>\n\u003cp>Dream-like, \u003cem>Masquerade\u003c/em> begins somewhat aimless, introducing small mysteries and oddities that provide an unnerving background hum to an otherwise aimless plot. Like Meadow, we’re not sure where this is all going, or what is going to prove important later, though the occasional foreshadowing reminds us there’s a bigger issue at hand.\u003c/p>\n\u003cp>There’s a disappearance. There’s an apparent doppelganger, and maybe a ghost, too. And a strange mirror haunts Meadow’s dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>[aside postid='arts_13966822']\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>[aside postid='arts_13967226']The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HyIyd9joTTc\u003c/p>\n\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>[aside postid='arts_13967037']But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HyIyd9joTTc'\n title='//www.youtube.com/embed/HyIyd9joTTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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