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"content": "\u003cp>In Edward Berger’s \u003cem>Conclave\u003c/em>, the selection of the pope is no holy affair. Instead, it’s a petty, political campaign carried out in secrecy, where gossip flows, agendas are malleable and loyalties are fleeting. All are there to serve God, they say. But we all know how helpful that has been in conflicts throughout history. \u003cem>Conclave\u003c/em> might not have much new or interesting to say about the Catholic Church, but it is a deliriously fun watch in the way that tense, smart thrillers with an ensemble of great actors can be.\u003c/p>\n\u003cp>It’s fitting that Peter Straughan, who co-wrote the script for \u003cem>Tinker Tailor Soldier Spy\u003c/em>, was the one to adapt Robert Harris’ 2016 novel, taking audiences inside the secretive halls of the Vatican in the immediate aftermath of the pope’s death. The film opens abruptly and effectively on Ralph Fiennes’ back, walking somewhere briskly. Nothing is said. You don’t even see his face. But between Volker Bertelmann’s heightened score and Fiennes’ pace and tensed shoulders, the mood is set. This, it is clear, is not going to be a straightforward affair. Plus, something seems a little fishy about this death.\u003c/p>\n\u003cp>[aside postid='arts_13967037']Fiennes plays Cardinal Thomas Lawrence, the dean of the College of Cardinals, whose duty is to oversee the election of the next pope. That means gathering a group of 100-some clergymen in Rome to vote. With many dreaming of ascending to the position, they’re secluded from the outside world and left to their own devices to lobby for support.\u003c/p>\n\u003cp>There are some formidable forces at play following the death of a more liberal-minded pope. Stanley Tucci’s Aldo Bellini is a progressive hoping to evolve the church dramatically. Sergio Castellitto’s Goffredo Tedesco thinks they’ve gone astray and wants to bring it back to the days of Latin Mass and Italian leadership. There’s also Lucian Msamati’s Joshua Adeyemi, from Nigeria, who stands to make history as the first Black pope but whose views on homosexuality worry the progressives. And finally, John Lithgow’s slick but earnest Joseph Tremblay, who, unlike Bellini, wears his ambition on his sleeve. He also happened to be the last official meeting on the pope’s schedule before he died and delayed before calling Lawrence with the news.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JX9jasdi3ic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a film business where youth still reigns supreme, \u003cem>Conclave\u003c/em> is a symphony of lovely aging faces. These actors whose forehead lines don’t disappear at rest are in full command of their instruments showing a world of experience, doubt and regret in any given glance. Fiennes gets the majority of the close-ups, as a man who is having to manage this increasingly unwieldy proceeding while also grappling with his own internal crisis. He reveals to Bellini, who he hopes will be selected, that he recently attempted to resign. His request, he said, was denied.\u003c/p>\n\u003cp>[aside postid='arts_13967007']And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_13967095\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png\" alt=\"An album cover showing drums and a Black man playing a saxophone.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1920x1920.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Bird in Kansas City (Live)’ by Charlie Parker. \u003ccite>(Verve Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to Charlie Parker’s saxophone gymnastics on a new album of rare recordings is like watching Simone Biles stretch during warmups.\u003c/p>\n\u003cp>A new collection, \u003cem>Bird in Kansas City\u003c/em> captures Parker’s grace and greatness in casual settings. On 13 cuts recorded in his hometown from 1941 to 1951, the bebop pioneer’s playing is largely informal and relaxed, yet still Olympian.\u003c/p>\n\u003cp>[aside postid='arts_13966868']The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>[aside postid='arts_13967001']Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>It’s not your typical stop-motion film when characters name pets after Sylvia Plath and read \u003cem>The Diary of Anne Frank\u003c/em> — or when the story’s inspired by a quote from existentialist thinker Søren Kierkegaard.\u003c/p>\n\u003cp>And it’s certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet.\u003c/p>\n\u003cp>[aside postid='arts_13966836']But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ehc8cc7g31I\u003c/p>\n\u003cp>Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness.\u003c/p>\n\u003cp>[aside postid='arts_13966737']Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966954\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png\" alt=\"A book cover depicting a roadside cross and teddy bear.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1060x1536.png 1060w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorials’ by Richard Chizmar. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Chizmar, who co-wrote parts of the \u003cem>Gwendy\u003c/em> trilogy with Stephen King from 2017-2022 (\u003cem>Gwendy’s Button Box\u003c/em> and \u003cem>Gwendy’s Final Task\u003c/em>), has written his longest novel yet and readers should not be surprised that it reads, at least somewhat, like something from the mind of Stephen King.\u003c/p>\n\u003cp>\u003cem>Memorials\u003c/em> is set in 1983 as three students embark on a road trip through Appalachia, documenting roadside memorials for their American Studies 301 class at York College. We soon learn that Billy, Melody and Troy experienced personal loss prior to their college years, so the act of documenting sites where someone else’s loved ones lost their lives turns out to be both educational and personal. Chizmar intentionally gives the trio a very \u003cem>Scooby Doo\u003c/em>-like vibe, even making their wheels, a “Volkswagen Westfalia pop-top camper,” reminiscent of the Mystery Machine.\u003c/p>\n\u003cp>[aside postid='arts_13966390']The plot starts off slow as they meander the back roads, taking Polaroids and shooting VHS video of crosses and balloons and stuffed animals that mark the spots where people died. Chizmark employs a cool narrative trick, providing transcripts of the video footage as they interview locals and loved ones. “The camera zooms closer on his face. His brown eyes are somber but steady. He clears his throat and continues,” is how part of the transcript of Billy’s interview reads. Billy lost his parents in a car accident in Sudbury, Pennsylvania, and it’s when he returns home, visits their roadside memorial, and starts asking questions, that the novel gets more interesting.\u003c/p>\n\u003cp>The story is stuffed with foreshadowing, as various characters are introduced and act suspiciously and as Billy, Melody and Troy begin to find occult signs at memorials and experience strange visions. And while the point is to definitely build tension until the novel’s climax, it sometimes comes across as heavy-handed. A few too many chapters end with italics and you can practically hear the foreboding music as the scene fades to black.\u003c/p>\n\u003cp>When the plot puzzle begins to assemble in the final 100 or so pages, \u003cem>Memorials\u003c/em> really takes off and becomes something altogether different, genuinely earning its placement in the horror section of the bookstore. Readers will have to decide for themselves if the payoff is worth it, but it’s an enjoyable enough ride.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Memorials’ by Richard Chizmar is out on Oct. 22, 2024, via Gallery Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966854\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png\" alt=\"A book cover depicting a red light switch on a bright pink background.\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-800x1136.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1020x1448.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-768x1090.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1082x1536.png 1082w\" sizes=\"(max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">‘Don’t Be a Stranger’ by Susan Minot. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the very first page of Susan Minot’s latest novel, \u003cem>Don’t Be a Stranger\u003c/em>, Ivy Cooper, a single mother in her early 50s, has sex on her mind. The scene opens with her in the bath, thinking about the sex she’s had in that tub, the sex she’d like to have — but also, her bills, her writing, her young son, the Iraq war.\u003c/p>\n\u003cp>[aside postid='arts_13966531']So, when the doorbell rings and she runs to get it wrapped only in a towel, opening the door on a man some 20 years younger with a shadowed face, handsome, with “full mouth” and “bruised eyes,” you can guess where this story is going. “She saw something in him unusual, as if not touched by the usual things,” Minot writes in her characteristic style that is both dreamy and precise.\u003c/p>\n\u003cp>Over the next 300 pages Minot strives mightily to convey every aspect of Ivy’s obsessive desire for this vagabond musician, Ansel Fleming, who showed up that night to escort her to a party. It is a passion that defies common sense, promises to upend lives, and by the end of the novel, nearly drives her out of her mind.\u003c/p>\n\u003cp>Never mind that Ansel recently spent seven years in jail on a drug charge. That he tells her up front he’s not looking to fall in love. None of that can shake her conviction, formed the first night she met him, that wherever he was “held more dense molecules than were in the rest of the room.”\u003c/p>\n\u003cp>The counterpoint to Ivy’s drama with Ansel is her all-consuming love for and anxiety about her young son, Nicky. She is wracked with guilt for walking out on his father the year before, leaving their farm in Virginia to take the boy with her to New York, which she finds more conducive to her life as a writer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The novel toggles back and forth between these two stories, the erotic and maternal, interspersed with scenes from Ivy’s bohemian life in downtown New York with wealthier friends who invite her into their stylish homes. Then Nicky gets sick and suddenly, Ivy’s priorities become clear.\u003c/p>\n\u003cp>[aside postid='arts_13966651']In real life, we often become impatient with friends in the grip of an obsession, erotic or otherwise. So, too, in fiction, where it’s crucial that readers at a minimum remain interested in the lives of the characters. Minot succeeds intermittently in making us care about Ivy. As for Ansel, it’s obvious from the start that he’s pretty much of a jerk.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Be a Stranger’ by Susan Minot is out now, via Knopf.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966854\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png\" alt=\"A book cover depicting a red light switch on a bright pink background.\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-800x1136.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1020x1448.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-768x1090.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1082x1536.png 1082w\" sizes=\"(max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">‘Don’t Be a Stranger’ by Susan Minot. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the very first page of Susan Minot’s latest novel, \u003cem>Don’t Be a Stranger\u003c/em>, Ivy Cooper, a single mother in her early 50s, has sex on her mind. The scene opens with her in the bath, thinking about the sex she’s had in that tub, the sex she’d like to have — but also, her bills, her writing, her young son, the Iraq war.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, when the doorbell rings and she runs to get it wrapped only in a towel, opening the door on a man some 20 years younger with a shadowed face, handsome, with “full mouth” and “bruised eyes,” you can guess where this story is going. “She saw something in him unusual, as if not touched by the usual things,” Minot writes in her characteristic style that is both dreamy and precise.\u003c/p>\n\u003cp>Over the next 300 pages Minot strives mightily to convey every aspect of Ivy’s obsessive desire for this vagabond musician, Ansel Fleming, who showed up that night to escort her to a party. It is a passion that defies common sense, promises to upend lives, and by the end of the novel, nearly drives her out of her mind.\u003c/p>\n\u003cp>Never mind that Ansel recently spent seven years in jail on a drug charge. That he tells her up front he’s not looking to fall in love. None of that can shake her conviction, formed the first night she met him, that wherever he was “held more dense molecules than were in the rest of the room.”\u003c/p>\n\u003cp>The counterpoint to Ivy’s drama with Ansel is her all-consuming love for and anxiety about her young son, Nicky. She is wracked with guilt for walking out on his father the year before, leaving their farm in Virginia to take the boy with her to New York, which she finds more conducive to her life as a writer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The novel toggles back and forth between these two stories, the erotic and maternal, interspersed with scenes from Ivy’s bohemian life in downtown New York with wealthier friends who invite her into their stylish homes. Then Nicky gets sick and suddenly, Ivy’s priorities become clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In real life, we often become impatient with friends in the grip of an obsession, erotic or otherwise. So, too, in fiction, where it’s crucial that readers at a minimum remain interested in the lives of the characters. Minot succeeds intermittently in making us care about Ivy. As for Ansel, it’s obvious from the start that he’s pretty much of a jerk.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Be a Stranger’ by Susan Minot is out now, via Knopf.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>[aside postid='arts_13953890']The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>[aside postid='pop_101956']Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FzKZ-KXLtak\u003c/p>\n\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HIj7Qkr8WYU\u003c/p>\n\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=xP7cQnOcU7I\u003c/p>\n\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>[aside postid='arts_13933318']Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UDVjX2OBrwc\u003c/p>\n\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=rwsTYQ26QDQ\u003c/p>\n\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Q786UsnOcsY\u003c/p>\n\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=QX6V-tZn9VA\u003c/p>\n\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\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/FzKZ-KXLtak'\n title='//www.youtube.com/embed/FzKZ-KXLtak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\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/HIj7Qkr8WYU'\n title='//www.youtube.com/embed/HIj7Qkr8WYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\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/xP7cQnOcU7I'\n title='//www.youtube.com/embed/xP7cQnOcU7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\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/UDVjX2OBrwc'\n title='//www.youtube.com/embed/UDVjX2OBrwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\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/rwsTYQ26QDQ'\n title='//www.youtube.com/embed/rwsTYQ26QDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\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/Q786UsnOcsY'\n title='//www.youtube.com/embed/Q786UsnOcsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\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/QX6V-tZn9VA'\n title='//www.youtube.com/embed/QX6V-tZn9VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is the Killer Bachelor No. 1 or No. 2? Anna Kendrick’s Chilling ‘Woman of the Hour’",
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"content": "\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>[aside postid='arts_13966715']The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ODUdpwddTQk\u003c/p>\n\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\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/ODUdpwddTQk'\n title='//www.youtube.com/embed/ODUdpwddTQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "smile-2-horror-movie-review-naomi-scott-parker-finn",
"title": "‘Smile 2’ Nicely Targets Pop Star Fame With the Terrific Naomi Scott",
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"content": "\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>[aside postid='arts_13966259']\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FU_bAopCcSE\u003c/p>\n\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\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/FU_bAopCcSE'\n title='//www.youtube.com/embed/FU_bAopCcSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966534\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png\" alt=\"A book cover featuring an abstract illustration of two women's heads and shoulders directly next to each other.\" width=\"1364\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-800x1173.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1020x1496.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-768x1126.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1048x1536.png 1048w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">‘Shred Sisters’ by Betsy Lerner. \u003ccite>(Grove Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was in the mood for a novel about family relationships, something \u003ca href=\"https://www.kqed.org/forum/903191000/cheever-a-life\">Cheever\u003c/a>-esque. Maybe, I thought, a sharp, contained work of fiction would be a temporary antidote to a world that feels out of control.\u003c/p>\n\u003cp>Because I admired Betsy Lerner’s 2016 memoir \u003ca href=\"https://www.npr.org/2016/04/28/476012418/mother-and-daughter-come-together-at-the-card-table-in-the-bridge-ladies\">\u003cem>The Bridge\u003c/em> \u003cem>Ladies\u003c/em>\u003c/a>, I thought her new debut novel \u003cem>Shred Sisters\u003c/em> might just be the right choice. Turns out, I landed on a good book for the wrong reasons.\u003c/p>\n\u003cp>[aside postid='arts_13966245']\u003cem>Shred Sisters\u003c/em> is, indeed, incisive and wry; but, given its central subject — an upper-middle-class, Jewish, suburban family all-but-capsized by the mental illness of one of its members — this novel is anything but contained and controlled.\u003c/p>\n\u003cp>\u003cem>Shred Sisters\u003c/em> spans the 1970s through the 1990s and focuses intensely on the relationship between the two Shred sisters who live with their parents in New Haven, Conn. Amy, the younger sister, is our narrator: She’s small, shy, a scrupulous obeyer of rules. One of her favorite games as a kid is one she calls “Movies” where she “scatter[s] garbage on the floor and sweep[s] it up” — like a theater usher.\u003c/p>\n\u003cp>Older sister Olivia, known as “Ollie,” is the star of the family: She’s beautiful, charismatic and — as becomes increasingly clear during her teenage years — she struggles with mental illness. Here are snippets from the opening of the novel, which takes place when Amy is 10 and Ollie is 14. Amy recalls that:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>By the time [Dad] reached Ollie, she was soaked in blood.\u003c/p>\n\u003cp>Ollie had dared me to jump on the couch with her. Using the thick cushions as a trampoline, she made a swishing sound as she jumped, touching the ceiling and dunking an imaginary basketball. Only when she took a jump shot from the side, not realizing the power in her legs, she crashed into the picture window behind the couch. For a second there was silence, then the window splintered into a web of shards that rained down on my sister …\u003c/p>\n\u003cp>Later [Ollie] joked that she looked like a giant tampon …\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>That opening gives fair warning of the erratic periods of chaos and exhaustion that will define the Shred family’s life for decades — especially as Ollie begins stealing things, raging and disappearing. She’s eventually sent to a psychiatric hospital that Amy and her parents tactfully refer to as “The Place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the aspects of coping with mental illness that Lerner vividly captures is the limits of 1970s and ’80s psychiatry to treat what Amy later speculates is bipolar disorder. The Shred parents never get a diagnosis for Ollie; Amy, left on her own, reads popular books of the era to try to grasp what’s going on: “They all had a girl on the cover [Amy tells us], brunette and brooding. \u003cem>Go Ask Alice\u003c/em> … \u003cem>The Bell Jar\u003c/em>. None of the girls reminded me of Ollie.”\u003c/p>\n\u003cp>[aside postid='arts_13966297']After two years, Ollie is discharged, unchanged, and disappears for even longer stretches. Drained of energy for each other, the Shred parents, Amy says, “split slowly, like the subterranean forces that pulled apart the jagged coasts of South America and Africa.”\u003c/p>\n\u003cp>As she did in \u003cem>The Bridge Ladies\u003c/em>, Lerner elevates what may sound like yet another pop saga of endurance, measured recovery and forgiveness into a closely observed story that’s ragged and wry. The final two-thirds of this novel focus on Amy herself — the usher in the shadows who’s spent decades powerlessly observing and cleaning up after this family movie.\u003c/p>\n\u003cp>Change, as we know, is hard; but, there’s a moment where the adult Amy, who’s been demoralized by loneliness and career failure, spontaneously walks into a hair salon. She’s pulled in by a sign that reads: “\u003cem>Never give up on your hair.”\u003c/em>\u003c/p>\n\u003cp>These are the kind of revelatory ordinary human moments Lerner captures with precision. As an affirmation, “\u003cem>Never give up on your hair\u003c/em>” turns out to be a more modest way to declare, “I will survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shred Sisters’ by Betsy Lerner is out now, via Grove Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966534\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png\" alt=\"A book cover featuring an abstract illustration of two women's heads and shoulders directly next to each other.\" width=\"1364\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-800x1173.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1020x1496.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-768x1126.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1048x1536.png 1048w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">‘Shred Sisters’ by Betsy Lerner. \u003ccite>(Grove Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was in the mood for a novel about family relationships, something \u003ca href=\"https://www.kqed.org/forum/903191000/cheever-a-life\">Cheever\u003c/a>-esque. Maybe, I thought, a sharp, contained work of fiction would be a temporary antidote to a world that feels out of control.\u003c/p>\n\u003cp>Because I admired Betsy Lerner’s 2016 memoir \u003ca href=\"https://www.npr.org/2016/04/28/476012418/mother-and-daughter-come-together-at-the-card-table-in-the-bridge-ladies\">\u003cem>The Bridge\u003c/em> \u003cem>Ladies\u003c/em>\u003c/a>, I thought her new debut novel \u003cem>Shred Sisters\u003c/em> might just be the right choice. Turns out, I landed on a good book for the wrong reasons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After two years, Ollie is discharged, unchanged, and disappears for even longer stretches. Drained of energy for each other, the Shred parents, Amy says, “split slowly, like the subterranean forces that pulled apart the jagged coasts of South America and Africa.”\u003c/p>\n\u003cp>As she did in \u003cem>The Bridge Ladies\u003c/em>, Lerner elevates what may sound like yet another pop saga of endurance, measured recovery and forgiveness into a closely observed story that’s ragged and wry. The final two-thirds of this novel focus on Amy herself — the usher in the shadows who’s spent decades powerlessly observing and cleaning up after this family movie.\u003c/p>\n\u003cp>Change, as we know, is hard; but, there’s a moment where the adult Amy, who’s been demoralized by loneliness and career failure, spontaneously walks into a hair salon. She’s pulled in by a sign that reads: “\u003cem>Never give up on your hair.”\u003c/em>\u003c/p>\n\u003cp>These are the kind of revelatory ordinary human moments Lerner captures with precision. As an affirmation, “\u003cem>Never give up on your hair\u003c/em>” turns out to be a more modest way to declare, “I will survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shred Sisters’ by Betsy Lerner is out now, via Grove Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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