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"content": "\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>This Sept. 15 to Oct. 15, NPR Music celebrates artists from all corners of Latinidad with an ‘El Tiny’ takeover.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/sheila-e-performs-glamorous-life/\">Sheila E.\u003c/a> is a portrait of motion.\u003c/p>\n\u003cp>Not just the movement of her body as one of the world’s most recognized drummers, but also as a versatile musician who glides easily from genre to genre with the ease of a master. For her time behind the Desk, she assembled a team of musicians to play tracks from her first ever salsa album \u003cem>Bailar\u003c/em>.\u003c/p>\n\u003cp>From the first notes of “Rumba Percussion Jam,” Sheila E.’s bona-fides performing true \u003cem>rumbera \u003c/em>(traditional Afro-Cuban drumming and singing) are on full display with her conga chops. The entire set is a reflection of her long standing ability to meld Afro-Caribbean, jazz and funk into a danceable celebration that caps off with shots of tequila for her final track “Playa Tequila.”\u003c/p>\n\u003cp>Any amount of time spent with Sheila E. is a reminder that high caliber musicianship is always first and goes down easier when presented with the joyous energy of an icon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GjZ2XqYzPTI\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Rumba Percussion Jam”\u003c/li>\n\u003cli>“Mi Amor”\u003c/li>\n\u003cli>“The Way That You Do”\u003c/li>\n\u003cli>“Possibilities”\u003c/li>\n\u003cli>“Playa Tequila”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Sheila Escovedo: lead vocals, percussion\u003c/li>\n\u003cli>Raymond McKinley: bass, tour management, production management\u003c/li>\n\u003cli>Myke Davison: guitar\u003c/li>\n\u003cli>Bertron Curtis: keys\u003c/li>\n\u003cli>Rose Ann Dimalanta: keys\u003c/li>\n\u003cli>Daniel Rodriguez: drums\u003c/li>\n\u003cli>Fausto Cuevas: percussion\u003c/li>\n\u003cli>Johny Ayquipa: trumpet\u003c/li>\n\u003cli>Percy Recavarren: trombone\u003c/li>\n\u003cli>Lynn Mabry: vocals\u003c/li>\n\u003cli>Rebecca Jade: vocals\u003c/li>\n\u003cli>Debi Nova: vocals\u003c/li>\n\u003cli>Jean Rodriguez: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Felix Contreras\u003c/li>\n\u003cli>Director/Editor: Maia Stern\u003c/li>\n\u003cli>Audio Technical Director: Josephine Nyounai\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Maia Stern, Joshua Bryant, Kara Frame, Alanté Serene\u003c/li>\n\u003cli>Audio Engineer: Ted Mebane\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Photographer: Michael Zamora\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Cills, Josh Newell\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GjZ2XqYzPTI'\n title='//www.youtube.com/embed/GjZ2XqYzPTI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Rumba Percussion Jam”\u003c/li>\n\u003cli>“Mi Amor”\u003c/li>\n\u003cli>“The Way That You Do”\u003c/li>\n\u003cli>“Possibilities”\u003c/li>\n\u003cli>“Playa Tequila”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Sheila Escovedo: lead vocals, percussion\u003c/li>\n\u003cli>Raymond McKinley: bass, tour management, production management\u003c/li>\n\u003cli>Myke Davison: guitar\u003c/li>\n\u003cli>Bertron Curtis: keys\u003c/li>\n\u003cli>Rose Ann Dimalanta: keys\u003c/li>\n\u003cli>Daniel Rodriguez: drums\u003c/li>\n\u003cli>Fausto Cuevas: percussion\u003c/li>\n\u003cli>Johny Ayquipa: trumpet\u003c/li>\n\u003cli>Percy Recavarren: trombone\u003c/li>\n\u003cli>Lynn Mabry: vocals\u003c/li>\n\u003cli>Rebecca Jade: vocals\u003c/li>\n\u003cli>Debi Nova: vocals\u003c/li>\n\u003cli>Jean Rodriguez: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Felix Contreras\u003c/li>\n\u003cli>Director/Editor: Maia Stern\u003c/li>\n\u003cli>Audio Technical Director: Josephine Nyounai\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Maia Stern, Joshua Bryant, Kara Frame, Alanté Serene\u003c/li>\n\u003cli>Audio Engineer: Ted Mebane\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Photographer: Michael Zamora\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Cills, Josh Newell\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-horror-movies-to-stream-this-halloween",
"title": "7 Bay Area Horror Movies For Your Halloween Viewing Pleasure",
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"content": "\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\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/vFUD8b-BZCc'\n title='//www.youtube.com/embed/vFUD8b-BZCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\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/oEm1c-sBRfY'\n title='//www.youtube.com/embed/oEm1c-sBRfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\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/Oo_6Fb5k2lo'\n title='//www.youtube.com/embed/Oo_6Fb5k2lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\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/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\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/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\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/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\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!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline",
"title": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
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"content": "\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>[aside postid='arts_13965841']And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>[aside postid='arts_13966239']The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so6XoqZgbVM\u003c/p>\n\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>[aside postid='arts_13965835']But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>[aside postid='arts_13966394']It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\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/so6XoqZgbVM'\n title='//www.youtube.com/embed/so6XoqZgbVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "zodiac-killer-forged-letter-david-toschi-armistead-maupin-tales-of-the-city",
"title": "How the Zodiac Killer Investigation Fell Apart in 1978 ... Because of Armistead Maupin",
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"headTitle": "How the Zodiac Killer Investigation Fell Apart in 1978 … Because of Armistead Maupin | KQED",
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"content": "\u003cp>In 1978, San Francisco was an anarchic place to be. A burgeoning punk rock scene was in the process of eviscerating the city’s reputation as a hippie haven. Civil rights campaigns raged all over: the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panthers\u003c/a> were over a decade into their struggle, LGBTQ folks were \u003ca href=\"https://www.kqed.org/news/11966077/inside-the-trial-that-overturned-californias-same-sex-marriage-ban-proposition-8-mike-johnson-lgbtq-rights\">at war with Anita Bryant\u003c/a>, and feminists were trying to “\u003ca href=\"https://www.againstviolence.art/take-back-the-night\">Take Back the Night\u003c/a>” outside of North Beach’s strip clubs. This most turbulent of years also culminated in the \u003ca href=\"https://www.kqed.org/news/118592/relatives-remember-jonestown-35-years-after-the-killings\">Jonestown Massacre\u003c/a> \u003cem>and\u003c/em> the assassinations of Harvey Milk and George Moscone.\u003c/p>\n\u003cp>[aside postid='arts_13953890']If there hadn’t been so much going on, it’s possible that one very strange turn of events might have stayed in the public consciousness for a bit longer. Because yes, it’s almost as bonkers as everything else that happened that year.\u003c/p>\n\u003cp>In July 1978, nine years after the \u003ca href=\"https://www.kqed.org/arts/tag/zodiac-killer\">Zodiac Killer\u003c/a> first struck, one of the most prominent homicide cops working the case was suddenly removed from his post. By that time, Inspector David R. Toschi — who had been on the case since day one — is said to have interviewed 5,000 people and examined more than 2,000 suspects. So it’s probable that his sudden transfer from homicide to (in Toschi’s own words) “the pawnshop detail” was always going to make some headlines. The reason it blew up into a citywide reason to gossip was the person responsible for his demotion — \u003ca href=\"https://www.kqed.org/pop/111091/everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update\">\u003cem>Tales of the City\u003c/em>\u003c/a> author and jaunty man about San Francisco, \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Armistead Maupin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13880964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner.jpg\" alt=\"\" width=\"2000\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-1920x1244.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Armistead Maupin, not causing any controversies. \u003ccite>(Christopher Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This whole thing started in August 1976 when Maupin consulted Toschi so he might better write the character of homicide detective Henry Tandy. Tandy was featured in Maupin’s \u003cem>San Francisco Chronicle\u003c/em> column and in the first \u003cem>Tales of the City\u003c/em> book that combined many of those stories. True to Maupin’s tendency to blend fiction and reality, Toschi was also written in as Tandy’s mentor.\u003c/p>\n\u003cp>[aside postid='arts_13833330']All very normal and fine so far? Well, yes, but not for long. According to Maupin, “within the [first] week” of Toschi’s name appearing in \u003cem>Tales of the City\u003c/em>, the author received two fake fan letters that included praise for Toschi. Maupin clocked the notes as phony only some weeks later when even more arrived, at which point he suspected that Toschi was sending them himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maupin later stated that he regarded the letters “as a harmless, if somewhat reckless action on the part of a police officer.” He also told the \u003cem>San Francisco Examiner\u003c/em>: “I was extremely embarrassed for him. The letters were so transparent, so pathetic that I couldn’t bring myself to [confront] him.”\u003c/p>\n\u003cfigure id=\"attachment_13966328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966328 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi.jpg\" alt=\"A man wearing a white shirt, bow tie and suspenders looks though a stack of paper files.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1020x608.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-768x458.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1536x915.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1920x1144.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Toschi in 1976, the same year he sent Armistead Maupin fan mail… in praise of himself. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time he was sending the fake fan letters, Toschi was also sending Maupin some unusual packages, signed directly from himself. These included one containing a signed photograph of himself posing with \u003cem>The Streets of San Francisco\u003c/em> actor \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Malden\">Karl Malden\u003c/a> and another containing a felt wall calendar. (Herb Caen also reportedly received one of these calendars and, Maupin believes, phony fan mail from Toschi.)\u003c/p>\n\u003cp>Things escalated in April 1978 when, after a four-year period of silence from the Zodiac, a new letter purporting to be from the serial killer arrived at the \u003cem>Chronicle\u003c/em>’s offices. It read, in part:\u003c/p>\n\u003cblockquote>\u003cp>This is the Zodiac speaking I am back with you. Tell herb caen I am here, I have always been here. That city pig toschi is good — but I am smarter and better he will get tired then leave me alone.\u003c/p>\u003c/blockquote>\n\u003cp>After Maupin saw the letter, he began to suspect that Toschi might have faked it. For one, no prior Zodiac letters had ever mentioned any individual police officers before. In addition, Maupin thought that the tone, the “margin stops” and the shape of the Ds in the Zodiac letter looked similar to ones he saw in Toschi’s fabricated fan mail.\u003c/p>\n\u003cfigure id=\"attachment_13966330\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966330\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78.png\" alt=\"\" width=\"2000\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-800x668.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1020x851.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-768x641.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1536x1282.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1920x1602.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The final Zodiac letter from April 1978, that Armistead Maupin suspected Inspector David Toschi had forged.\u003c/figcaption>\u003c/figure>\n\u003cp>Maupin was concerned enough that he contacted Toschi’s superiors at the San Francisco Police Department; they immediately launched an investigation. Toschi publicly admitted to sending the fake fan letters to Maupin and was swiftly removed from the Zodiac case.\u003c/p>\n\u003cp>“It was a foolish thing to do,” he said at the time. “I am ashamed of it.” However, Toschi also denied meddling in the Zodiac case. He declared to the \u003cem>Examiner\u003c/em>, “I wrote no Zodiac letter. I don’t need another letter. It only brings me tons of extra work.”\u003c/p>\n\u003cp>In the same interview, Toschi dismissed Maupin’s suspicions as a baseless publicity stunt timed specifically to coincide with the release of the first \u003cem>Tales of the City\u003c/em> book.\u003c/p>\n\u003cp>[aside postid='arts_13904265']“Can a man be destroyed because of vague accusations about ‘tone’?” Toschi said. “You bet he can! The complaint signed by Maupin and his publicist [Kenneth Maley] says that I ‘may’ have forged the last … Zodiac letter. ‘May have forged.’ ‘Similarity of tone.’ Just this. No evidence … I’ll be exonerated eventually but my credibility has been smashed.”\u003c/p>\n\u003cp>Asked what the lowest point of the controversy had been for him, Toschi explained: “Someone from Internal Affairs asked me where I had been on the night that Zodiac murdered the cab driver Paul Stine. I told him — home in bed — but I got sick to my stomach. Apparently some reporter had asked the department: ‘Could Toschi be Zodiac?’ You’ll never know how that hurt.”\u003c/p>\n\u003cp>Regardless of the suspicions placed on Toschi, he was eventually exonerated of forging the final Zodiac letter. He stayed with the SFPD until 1985, before taking on the role of director of security at both Union Square’s Pan Pacific Hotel and St. Luke’s Hospital in the Mission. Toschi died in 2018 at the age of 86 but, as he predicted, the controversy about the final Zodiac letter never dissipated — and Toschi’s name is now synonymous with it. As the \u003cem>Examiner\u003c/em> wrote on July 11, 1978: “It may just be that he is a man done in by his own admiration for newspaper stories that mentioned his name.”\u003c/p>\n\u003cp>As for Maupin, the controversy he started had zero effect on his career. As the years passed, Maupin’s association with the Zodiac case became a distant memory for almost everyone except true crime nerds. Maupin went on to release nine enormously popular \u003cem>Tales of the City\u003c/em> books over a span of 36 years. \u003cem>Tales of the City\u003c/em> was also turned into \u003ca href=\"https://www.pbs.org/wgbh/cultureshock/flashpoints/theater/tales.html\">a PBS series starring Laura Linney\u003c/a> in 1993 and \u003ca href=\"https://www.netflix.com/title/80211563\">rebooted by Netflix\u003c/a> in 2019.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sadly for the former cop, the David Toschi and Henry Tandy characters never made an appearance in either screen adaptation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1978, San Francisco was an anarchic place to be. A burgeoning punk rock scene was in the process of eviscerating the city’s reputation as a hippie haven. Civil rights campaigns raged all over: the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panthers\u003c/a> were over a decade into their struggle, LGBTQ folks were \u003ca href=\"https://www.kqed.org/news/11966077/inside-the-trial-that-overturned-californias-same-sex-marriage-ban-proposition-8-mike-johnson-lgbtq-rights\">at war with Anita Bryant\u003c/a>, and feminists were trying to “\u003ca href=\"https://www.againstviolence.art/take-back-the-night\">Take Back the Night\u003c/a>” outside of North Beach’s strip clubs. This most turbulent of years also culminated in the \u003ca href=\"https://www.kqed.org/news/118592/relatives-remember-jonestown-35-years-after-the-killings\">Jonestown Massacre\u003c/a> \u003cem>and\u003c/em> the assassinations of Harvey Milk and George Moscone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If there hadn’t been so much going on, it’s possible that one very strange turn of events might have stayed in the public consciousness for a bit longer. Because yes, it’s almost as bonkers as everything else that happened that year.\u003c/p>\n\u003cp>In July 1978, nine years after the \u003ca href=\"https://www.kqed.org/arts/tag/zodiac-killer\">Zodiac Killer\u003c/a> first struck, one of the most prominent homicide cops working the case was suddenly removed from his post. By that time, Inspector David R. Toschi — who had been on the case since day one — is said to have interviewed 5,000 people and examined more than 2,000 suspects. So it’s probable that his sudden transfer from homicide to (in Toschi’s own words) “the pawnshop detail” was always going to make some headlines. The reason it blew up into a citywide reason to gossip was the person responsible for his demotion — \u003ca href=\"https://www.kqed.org/pop/111091/everything-you-need-to-know-about-tales-of-the-city-before-the-netflix-update\">\u003cem>Tales of the City\u003c/em>\u003c/a> author and jaunty man about San Francisco, \u003ca href=\"https://www.kqed.org/pop/10814/armistead-maupin-on-saying-goodbye-to-san-francisco-and-tales-of-the-city\">Armistead Maupin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13880964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner.jpg\" alt=\"\" width=\"2000\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Armistead-Maupin-by-Christopher-Turner-1920x1244.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Armistead Maupin, not causing any controversies. \u003ccite>(Christopher Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This whole thing started in August 1976 when Maupin consulted Toschi so he might better write the character of homicide detective Henry Tandy. Tandy was featured in Maupin’s \u003cem>San Francisco Chronicle\u003c/em> column and in the first \u003cem>Tales of the City\u003c/em> book that combined many of those stories. True to Maupin’s tendency to blend fiction and reality, Toschi was also written in as Tandy’s mentor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All very normal and fine so far? Well, yes, but not for long. According to Maupin, “within the [first] week” of Toschi’s name appearing in \u003cem>Tales of the City\u003c/em>, the author received two fake fan letters that included praise for Toschi. Maupin clocked the notes as phony only some weeks later when even more arrived, at which point he suspected that Toschi was sending them himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maupin later stated that he regarded the letters “as a harmless, if somewhat reckless action on the part of a police officer.” He also told the \u003cem>San Francisco Examiner\u003c/em>: “I was extremely embarrassed for him. The letters were so transparent, so pathetic that I couldn’t bring myself to [confront] him.”\u003c/p>\n\u003cfigure id=\"attachment_13966328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966328 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi.jpg\" alt=\"A man wearing a white shirt, bow tie and suspenders looks though a stack of paper files.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1020x608.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-768x458.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1536x915.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/David-Toschi-1920x1144.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Toschi in 1976, the same year he sent Armistead Maupin fan mail… in praise of himself. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time he was sending the fake fan letters, Toschi was also sending Maupin some unusual packages, signed directly from himself. These included one containing a signed photograph of himself posing with \u003cem>The Streets of San Francisco\u003c/em> actor \u003ca href=\"https://en.wikipedia.org/wiki/Karl_Malden\">Karl Malden\u003c/a> and another containing a felt wall calendar. (Herb Caen also reportedly received one of these calendars and, Maupin believes, phony fan mail from Toschi.)\u003c/p>\n\u003cp>Things escalated in April 1978 when, after a four-year period of silence from the Zodiac, a new letter purporting to be from the serial killer arrived at the \u003cem>Chronicle\u003c/em>’s offices. It read, in part:\u003c/p>\n\u003cblockquote>\u003cp>This is the Zodiac speaking I am back with you. Tell herb caen I am here, I have always been here. That city pig toschi is good — but I am smarter and better he will get tired then leave me alone.\u003c/p>\u003c/blockquote>\n\u003cp>After Maupin saw the letter, he began to suspect that Toschi might have faked it. For one, no prior Zodiac letters had ever mentioned any individual police officers before. In addition, Maupin thought that the tone, the “margin stops” and the shape of the Ds in the Zodiac letter looked similar to ones he saw in Toschi’s fabricated fan mail.\u003c/p>\n\u003cfigure id=\"attachment_13966330\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966330\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78.png\" alt=\"\" width=\"2000\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-800x668.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1020x851.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-768x641.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1536x1282.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/zodiac-78-1920x1602.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The final Zodiac letter from April 1978, that Armistead Maupin suspected Inspector David Toschi had forged.\u003c/figcaption>\u003c/figure>\n\u003cp>Maupin was concerned enough that he contacted Toschi’s superiors at the San Francisco Police Department; they immediately launched an investigation. Toschi publicly admitted to sending the fake fan letters to Maupin and was swiftly removed from the Zodiac case.\u003c/p>\n\u003cp>“It was a foolish thing to do,” he said at the time. “I am ashamed of it.” However, Toschi also denied meddling in the Zodiac case. He declared to the \u003cem>Examiner\u003c/em>, “I wrote no Zodiac letter. I don’t need another letter. It only brings me tons of extra work.”\u003c/p>\n\u003cp>In the same interview, Toschi dismissed Maupin’s suspicions as a baseless publicity stunt timed specifically to coincide with the release of the first \u003cem>Tales of the City\u003c/em> book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Can a man be destroyed because of vague accusations about ‘tone’?” Toschi said. “You bet he can! The complaint signed by Maupin and his publicist [Kenneth Maley] says that I ‘may’ have forged the last … Zodiac letter. ‘May have forged.’ ‘Similarity of tone.’ Just this. No evidence … I’ll be exonerated eventually but my credibility has been smashed.”\u003c/p>\n\u003cp>Asked what the lowest point of the controversy had been for him, Toschi explained: “Someone from Internal Affairs asked me where I had been on the night that Zodiac murdered the cab driver Paul Stine. I told him — home in bed — but I got sick to my stomach. Apparently some reporter had asked the department: ‘Could Toschi be Zodiac?’ You’ll never know how that hurt.”\u003c/p>\n\u003cp>Regardless of the suspicions placed on Toschi, he was eventually exonerated of forging the final Zodiac letter. He stayed with the SFPD until 1985, before taking on the role of director of security at both Union Square’s Pan Pacific Hotel and St. Luke’s Hospital in the Mission. Toschi died in 2018 at the age of 86 but, as he predicted, the controversy about the final Zodiac letter never dissipated — and Toschi’s name is now synonymous with it. As the \u003cem>Examiner\u003c/em> wrote on July 11, 1978: “It may just be that he is a man done in by his own admiration for newspaper stories that mentioned his name.”\u003c/p>\n\u003cp>As for Maupin, the controversy he started had zero effect on his career. As the years passed, Maupin’s association with the Zodiac case became a distant memory for almost everyone except true crime nerds. Maupin went on to release nine enormously popular \u003cem>Tales of the City\u003c/em> books over a span of 36 years. \u003cem>Tales of the City\u003c/em> was also turned into \u003ca href=\"https://www.pbs.org/wgbh/cultureshock/flashpoints/theater/tales.html\">a PBS series starring Laura Linney\u003c/a> in 1993 and \u003ca href=\"https://www.netflix.com/title/80211563\">rebooted by Netflix\u003c/a> in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13966278']The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>[aside postid='arts_13966340']He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0tXEN0WNJUg\u003c/p>\n\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>[aside postid='arts_13966259']As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>[aside postid='arts_13965858']Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. That was surely due at least in part to a cease and desist letter from Trump lawyers.\u003c/p>\n\u003cp>Trump’s campaign spokesman called the movie “pure fiction” (the filmmakers call their script “fact-based”). One of the film’s investors — Trump supporter Dan Snyder, former owner of the Washington Commanders — saw it and wanted out. It was only weeks ago that Briarcliff Entertainment announced it would open \u003cem>The Apprentice\u003c/em> this Friday — less than four weeks before the U.S. election.\u003c/p>\n\u003cp>So, what kind of movie do we have here?\u003c/p>\n\u003cp>Contrary to some descriptions, Abbasi says his film isn’t a biopic at all, but a look at a relationship — and at a system that’s about winning at any cost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\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/0tXEN0WNJUg'\n title='//www.youtube.com/embed/0tXEN0WNJUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
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"content": "\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>[aside postid='arts_13966185']While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH02yagHaNw\u003c/p>\n\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>[aside postid='arts_13966146']The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Pugh and Garfield’s exceptional chemistry elevates this sweet story about the highs and lows of a mid-life relationship.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MH02yagHaNw'\n title='//www.youtube.com/embed/MH02yagHaNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nicki-minaj-fans-election-barbz-harris-trump",
"title": "The Beautiful Chaos of Nicki Minaj Fans During an Election",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen we began planning to talk to pop culture fandoms about this year’s election, we knew we couldn’t overlook the Barbz.\u003c/p>\n\u003cp>Nicki Minaj fans come from all walks of life, unified in their fierce loyalty to the Queen of Rap. As a pivotal figure in music who blew open the doors for today’s female rappers, Nicki is an icon — one whose fanbase has as many different political leanings as \u003ca href=\"https://nickiminaj.fandom.com/wiki/Alter_egos\">she has alter egos\u003c/a>. [aside postID='news_11999092']\u003c/p>\n\u003cp>Nicki’s own politics don’t exactly fit into a box, either. She’s expressed \u003ca href=\"https://www.billboard.com/music/music-news/nicki-minaj-hillary-clinton-donald-trump-barack-obama-sandra-bland-6804598/\">admiration for Hillary Clinton and Barack Obama\u003c/a>, but has also \u003ca href=\"https://x.com/NICKIMINAJ/status/1438256221660663812?lang=en\">decried\u003c/a> being told what to do by Democrats, including getting COVID vaccines. In trademark chaotic style, she once \u003ca href=\"https://www.eonline.com/news/760126/nicki-minaj-dedicates-anaconda-to-donald-trump-and-joe-biden-at-time-100-gala\">dedicated her ass-centric hit “Anaconda”\u003c/a> to \u003cem>both\u003c/em> Joe Biden and Donald Trump, “in the spirit of unity.”\u003c/p>\n\u003cp>So it wasn’t too surprising that outside Nicki Minaj’s show at the Chase Center in San Francisco, just over a month before Election Day, we found Barbz for Trump, Barbz for Harris, Barbz who didn’t care — as well as Barbz who flat-out hate both candidates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You already know in advance what political opinions you’ll get at a Ted Nugent concert. Or a Phoebe Bridgers concert. Nicki, though? It’s all over the place.\u003c/p>\n\u003cfigure id=\"attachment_13965820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Gage, left, and Elissa Amin, right, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024 \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m voting Trump all the way, and anybody that got a problem can fight me,” said Elissa Amin, from Reno. “When he was president four years ago, everything was better, prices were lower. He’s even said he’s gonna lower all the prices.”\u003c/p>\n\u003cp>Amin praised Trump’s foreign policy as well. “I feel like we’ve just been at war with a lot of countries. You can just make peace with someone in a phone call. That’s what he does,” she said.\u003c/p>\n\u003cp>As for other issues, like abortion, Amin said that she was “definitely learning more about that stuff right now. I’m trying to extend my knowledge on that. But I’m definitely all about pro-choice, whatever a woman wants to do with her body.”\u003c/p>\n\u003cp>Her friend, Jeremiah Gage, just turned 18. “I’m not really big on politics,” he said. “But I feel like it’s cool. Everyone has an opinion, and everyone’s opinion can change the world, you know? Definitely, next year, I will be voting.”\u003c/p>\n\u003cfigure id=\"attachment_13965829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Domi Nhan, left, and Anecia Brown, right, of Modesto pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Domi Nhan came to the show from Modesto with her friend Anecia Brown.\u003c/p>\n\u003cp>“Go Kamala,” Nhan said, planning to vote for the candidate who “can actually have a difference and not go backwards.”\u003c/p>\n\u003cp>“I mean, look at the presidential debate. It was a mess. You can’t spit false information 24/7 just to save your ass,” Nhan said. “And women’s rights mean a lot to me. That’s \u003cem>something\u003c/em>, at least, and I’d rather go forward with something than nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13965830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sierra Northcutt, left, and Leanna Taylor, right, of Sacramento pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Northcutt, from Sacramento, was blunt about her stance on the candidates.\u003c/p>\n\u003cp>“They’re both evil. They both fuckin’ suck,” she said. “I don’t think any one of ’em would be a good choice. We need somebody who’s actually for the people.”\u003c/p>\n\u003cp>Her friend Leanna Taylor agreed.\u003c/p>\n\u003cp>[aside postID='arts_13963687']“Either one, they’re just not ready for the White House,” Taylor said. “’Cause [Kamala] stands with how Joe Biden stands. I feel like Joe Biden hasn’t really done as much as other presidents. And Donald Trump, people say he’s crazy and everything, but there’s also just his age. We need somebody a little bit younger, who sees more of the younger generation’s perspective on things.\u003c/p>\n\u003cp>So what qualities would their ideal candidate have?\u003c/p>\n\u003cp>“Somebody who doesn’t come from privilege, obviously,” said Northcutt. “And under 70. Actually, under 50.”\u003c/p>\n\u003cfigure id=\"attachment_13965828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Siena Starr of San Jose, 15, poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siena Starr was just one year old when Nicki Minaj’s debut album \u003cem>Pink Friday\u003c/em> was released. Hailing from San Jose, Starr plans to start voting when she turns 18, but for now, at the age of 15, she’s already paying attention.\u003c/p>\n\u003cp>“I mean, if I could vote, I’d vote for Kamala Harris,” Starr said. “I feel like she’s very woman-empowering. I feel like she’d be a good representative for our country.”\u003c/p>\n\u003cp>Starr added that she doesn’t like Trump, stating it plain: “He used to be our president, and I didn’t like the ideas he had.”\u003c/p>\n\u003cfigure id=\"attachment_13966341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13966341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1920x1267.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nikaiyah Williams and Kiera Baldwin attend the Nicki Minaj concert at Chase Center on Sept. 23, 2024 in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiera Baldwin and Nikaiyah Williams, both from Hayward, are that rare breed of Bay Area voter: undecided about whether to vote for Harris or Trump. And it’s not that they don’t participate in elections.\u003c/p>\n\u003cp>“I vote,” Baldwin said. “But right now, I’m still thinking about it.” Baldwin cited the economy, homelessness and women’s rights as issues that are important to her.\u003c/p>\n\u003cp>Williams said her concerns in this election cycle include “homelessness and low-income families.”\u003c/p>\n\u003cp>As for any issue that Nicki fans are united on, “I would probably say women’s rights, most likely,” Baldwin offered, noting that Nicki Minaj is a mom.\u003c/p>\n\u003cfigure id=\"attachment_13965827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trini of Oakland poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trini, a recording artist from Oakland, did not hesitate in her opinion.\u003c/p>\n\u003cp>“Vote Kamala,” she implored. “Please get Trump out of my face. I don’t want to see him no more. And I just hate the fact that he’s even an option. If a felon can run the country, then why can’t felons get jobs?”\u003c/p>\n\u003cp>An advocate for reproductive rights, Trini worries about what could happen if Trump wins and assumes the role of a dictator, especially since he’s given a lot of leeway already, she said.\u003c/p>\n\u003cp>“As far as the debate, he didn’t answer no questions directly. Just tiptoein’ around. I’m just over it. It’s like a theatrical performance at this point,” Trini added.\u003c/p>\n\u003cfigure id=\"attachment_13965823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ronnie Punani came from Stockton for the show to celebrate her four-year anniversary with partner Nate — but was decidedly not celebrating her choices at the ballot box.\u003c/p>\n\u003cp>Each candidate “kind of sucks ass, you know, at this point,” she said. “It’s like, what the lesser evil is.”\u003c/p>\n\u003cp>Still, Ronnie encouraged people to vote anyway. “There’s a lot of people that are not registered, whose voice does matter. Every voice matters, wherever you come from, no matter your skin tone or who you are. Your voice matters.”\u003c/p>\n\u003cp>Neither Nate nor Ronnie wanted to say who they’d be voting for. But Nate offered an array of issues on his mind this election cycle.\u003c/p>\n\u003cfigure id=\"attachment_13965824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton wears pink boots for a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyday middle-class American jobs are always an issue,” Nate said. “Pay is always an issue. Living situations are always an issue. Groceries, everything from eggs to milk to bread and butter, are an issue.” He added that taxes, high rent, poverty and crime create poor living conditions.\u003c/p>\n\u003cp>“If you come in to the city, here in Frisco, it almost looks like a third-world country,” he said.\u003c/p>\n\u003cp>As for solutions? “I think we need to bring American jobs back to the states. I think taxes need to be lowered, I think police need to be reinforced, and I think that local government needs to step up.”\u003c/p>\n\u003cp>Ronnie said she’s not very concerned with Nicki Minaj making an endorsement of one candidate or the other.\u003c/p>\n\u003cp>“If you look in an interview, she always makes sure that her Barbz go to school. She’s encouraged people to make sure that they get their college degree. But when it comes down to politics, it’s like… you’ve seen the meme of Nicki Minaj with the American flag, right? Nicki for President, honestly. Period.”\u003c/p>\n\u003cfigure id=\"attachment_13965826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ally Thomas, left, and Cordè Faafiu, right, of Chico, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ally Thomas came for the show from Chico with her friend Cordé Faafiu. And while the three-hour drive proved her passion for Nicki Minaj, Thomas doesn’t have the same interest the election.\u003c/p>\n\u003cp>“I try to avoid it, to be honest. It’s just a mess,” she said.\u003c/p>\n\u003cp>Asked about any issues that concern her in Chico, Thomas said, “I mean, wildfires are always a concern, up in Chico. I was evacuated twice this year.”\u003c/p>\n\u003cfigure id=\"attachment_13965831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Lakayla Shelton, Shanquae Perry and Loretta Stanberry pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lakayla Shelton, from San Francisco, said that with her background as a prosecutor, Harris would be a firm but fair president.\u003c/p>\n\u003cp>“She’s just a strong, independent woman, and that’s what we need in the office right now,” Shelton said.\u003c/p>\n\u003cp>[aside postID='arts_13960424']Her friend Loretta Stanberry, also from San Francisco, acknowledged some good in the Trump administration, like the stimulus checks authorized during the first year of COVID. But she plans to vote for Kamala, and “it’s not just because she’s a woman or she’s an African American,” she said.\u003c/p>\n\u003cp>“I feel like the direction Trump’s going, we’re not going to make it too long. And I also feel like if you could be a felon, indicted on felonies, and still run? I don’t think that’s fair.”\u003c/p>\n\u003cp>Stanberry went on to praise Harris’ mindset. “Even when working with Biden, she’s on our team, all the issues, she’s working for us. She’s for all minorities. No matter what descent, what you identify as, she’s equal to everybody. I feel like she’ll be a great president.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At Nicki’s San Francisco concert, the Barbz spoke out on abortion, taxes and Trump.",
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"title": "The Beautiful Chaos of Nicki Minaj Fans During an Election | KQED",
"description": "At Nicki’s San Francisco concert, the Barbz spoke out on abortion, taxes and Trump.",
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"headline": "The Beautiful Chaos of Nicki Minaj Fans During an Election",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen we began planning to talk to pop culture fandoms about this year’s election, we knew we couldn’t overlook the Barbz.\u003c/p>\n\u003cp>Nicki Minaj fans come from all walks of life, unified in their fierce loyalty to the Queen of Rap. As a pivotal figure in music who blew open the doors for today’s female rappers, Nicki is an icon — one whose fanbase has as many different political leanings as \u003ca href=\"https://nickiminaj.fandom.com/wiki/Alter_egos\">she has alter egos\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicki’s own politics don’t exactly fit into a box, either. She’s expressed \u003ca href=\"https://www.billboard.com/music/music-news/nicki-minaj-hillary-clinton-donald-trump-barack-obama-sandra-bland-6804598/\">admiration for Hillary Clinton and Barack Obama\u003c/a>, but has also \u003ca href=\"https://x.com/NICKIMINAJ/status/1438256221660663812?lang=en\">decried\u003c/a> being told what to do by Democrats, including getting COVID vaccines. In trademark chaotic style, she once \u003ca href=\"https://www.eonline.com/news/760126/nicki-minaj-dedicates-anaconda-to-donald-trump-and-joe-biden-at-time-100-gala\">dedicated her ass-centric hit “Anaconda”\u003c/a> to \u003cem>both\u003c/em> Joe Biden and Donald Trump, “in the spirit of unity.”\u003c/p>\n\u003cp>So it wasn’t too surprising that outside Nicki Minaj’s show at the Chase Center in San Francisco, just over a month before Election Day, we found Barbz for Trump, Barbz for Harris, Barbz who didn’t care — as well as Barbz who flat-out hate both candidates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You already know in advance what political opinions you’ll get at a Ted Nugent concert. Or a Phoebe Bridgers concert. Nicki, though? It’s all over the place.\u003c/p>\n\u003cfigure id=\"attachment_13965820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Gage, left, and Elissa Amin, right, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024 \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m voting Trump all the way, and anybody that got a problem can fight me,” said Elissa Amin, from Reno. “When he was president four years ago, everything was better, prices were lower. He’s even said he’s gonna lower all the prices.”\u003c/p>\n\u003cp>Amin praised Trump’s foreign policy as well. “I feel like we’ve just been at war with a lot of countries. You can just make peace with someone in a phone call. That’s what he does,” she said.\u003c/p>\n\u003cp>As for other issues, like abortion, Amin said that she was “definitely learning more about that stuff right now. I’m trying to extend my knowledge on that. But I’m definitely all about pro-choice, whatever a woman wants to do with her body.”\u003c/p>\n\u003cp>Her friend, Jeremiah Gage, just turned 18. “I’m not really big on politics,” he said. “But I feel like it’s cool. Everyone has an opinion, and everyone’s opinion can change the world, you know? Definitely, next year, I will be voting.”\u003c/p>\n\u003cfigure id=\"attachment_13965829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Domi Nhan, left, and Anecia Brown, right, of Modesto pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Domi Nhan came to the show from Modesto with her friend Anecia Brown.\u003c/p>\n\u003cp>“Go Kamala,” Nhan said, planning to vote for the candidate who “can actually have a difference and not go backwards.”\u003c/p>\n\u003cp>“I mean, look at the presidential debate. It was a mess. You can’t spit false information 24/7 just to save your ass,” Nhan said. “And women’s rights mean a lot to me. That’s \u003cem>something\u003c/em>, at least, and I’d rather go forward with something than nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13965830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sierra Northcutt, left, and Leanna Taylor, right, of Sacramento pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Northcutt, from Sacramento, was blunt about her stance on the candidates.\u003c/p>\n\u003cp>“They’re both evil. They both fuckin’ suck,” she said. “I don’t think any one of ’em would be a good choice. We need somebody who’s actually for the people.”\u003c/p>\n\u003cp>Her friend Leanna Taylor agreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Either one, they’re just not ready for the White House,” Taylor said. “’Cause [Kamala] stands with how Joe Biden stands. I feel like Joe Biden hasn’t really done as much as other presidents. And Donald Trump, people say he’s crazy and everything, but there’s also just his age. We need somebody a little bit younger, who sees more of the younger generation’s perspective on things.\u003c/p>\n\u003cp>So what qualities would their ideal candidate have?\u003c/p>\n\u003cp>“Somebody who doesn’t come from privilege, obviously,” said Northcutt. “And under 70. Actually, under 50.”\u003c/p>\n\u003cfigure id=\"attachment_13965828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Siena Starr of San Jose, 15, poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siena Starr was just one year old when Nicki Minaj’s debut album \u003cem>Pink Friday\u003c/em> was released. Hailing from San Jose, Starr plans to start voting when she turns 18, but for now, at the age of 15, she’s already paying attention.\u003c/p>\n\u003cp>“I mean, if I could vote, I’d vote for Kamala Harris,” Starr said. “I feel like she’s very woman-empowering. I feel like she’d be a good representative for our country.”\u003c/p>\n\u003cp>Starr added that she doesn’t like Trump, stating it plain: “He used to be our president, and I didn’t like the ideas he had.”\u003c/p>\n\u003cfigure id=\"attachment_13966341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13966341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1920x1267.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nikaiyah Williams and Kiera Baldwin attend the Nicki Minaj concert at Chase Center on Sept. 23, 2024 in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiera Baldwin and Nikaiyah Williams, both from Hayward, are that rare breed of Bay Area voter: undecided about whether to vote for Harris or Trump. And it’s not that they don’t participate in elections.\u003c/p>\n\u003cp>“I vote,” Baldwin said. “But right now, I’m still thinking about it.” Baldwin cited the economy, homelessness and women’s rights as issues that are important to her.\u003c/p>\n\u003cp>Williams said her concerns in this election cycle include “homelessness and low-income families.”\u003c/p>\n\u003cp>As for any issue that Nicki fans are united on, “I would probably say women’s rights, most likely,” Baldwin offered, noting that Nicki Minaj is a mom.\u003c/p>\n\u003cfigure id=\"attachment_13965827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trini of Oakland poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trini, a recording artist from Oakland, did not hesitate in her opinion.\u003c/p>\n\u003cp>“Vote Kamala,” she implored. “Please get Trump out of my face. I don’t want to see him no more. And I just hate the fact that he’s even an option. If a felon can run the country, then why can’t felons get jobs?”\u003c/p>\n\u003cp>An advocate for reproductive rights, Trini worries about what could happen if Trump wins and assumes the role of a dictator, especially since he’s given a lot of leeway already, she said.\u003c/p>\n\u003cp>“As far as the debate, he didn’t answer no questions directly. Just tiptoein’ around. I’m just over it. It’s like a theatrical performance at this point,” Trini added.\u003c/p>\n\u003cfigure id=\"attachment_13965823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ronnie Punani came from Stockton for the show to celebrate her four-year anniversary with partner Nate — but was decidedly not celebrating her choices at the ballot box.\u003c/p>\n\u003cp>Each candidate “kind of sucks ass, you know, at this point,” she said. “It’s like, what the lesser evil is.”\u003c/p>\n\u003cp>Still, Ronnie encouraged people to vote anyway. “There’s a lot of people that are not registered, whose voice does matter. Every voice matters, wherever you come from, no matter your skin tone or who you are. Your voice matters.”\u003c/p>\n\u003cp>Neither Nate nor Ronnie wanted to say who they’d be voting for. But Nate offered an array of issues on his mind this election cycle.\u003c/p>\n\u003cfigure id=\"attachment_13965824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton wears pink boots for a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyday middle-class American jobs are always an issue,” Nate said. “Pay is always an issue. Living situations are always an issue. Groceries, everything from eggs to milk to bread and butter, are an issue.” He added that taxes, high rent, poverty and crime create poor living conditions.\u003c/p>\n\u003cp>“If you come in to the city, here in Frisco, it almost looks like a third-world country,” he said.\u003c/p>\n\u003cp>As for solutions? “I think we need to bring American jobs back to the states. I think taxes need to be lowered, I think police need to be reinforced, and I think that local government needs to step up.”\u003c/p>\n\u003cp>Ronnie said she’s not very concerned with Nicki Minaj making an endorsement of one candidate or the other.\u003c/p>\n\u003cp>“If you look in an interview, she always makes sure that her Barbz go to school. She’s encouraged people to make sure that they get their college degree. But when it comes down to politics, it’s like… you’ve seen the meme of Nicki Minaj with the American flag, right? Nicki for President, honestly. Period.”\u003c/p>\n\u003cfigure id=\"attachment_13965826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ally Thomas, left, and Cordè Faafiu, right, of Chico, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ally Thomas came for the show from Chico with her friend Cordé Faafiu. And while the three-hour drive proved her passion for Nicki Minaj, Thomas doesn’t have the same interest the election.\u003c/p>\n\u003cp>“I try to avoid it, to be honest. It’s just a mess,” she said.\u003c/p>\n\u003cp>Asked about any issues that concern her in Chico, Thomas said, “I mean, wildfires are always a concern, up in Chico. I was evacuated twice this year.”\u003c/p>\n\u003cfigure id=\"attachment_13965831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Lakayla Shelton, Shanquae Perry and Loretta Stanberry pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lakayla Shelton, from San Francisco, said that with her background as a prosecutor, Harris would be a firm but fair president.\u003c/p>\n\u003cp>“She’s just a strong, independent woman, and that’s what we need in the office right now,” Shelton said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her friend Loretta Stanberry, also from San Francisco, acknowledged some good in the Trump administration, like the stimulus checks authorized during the first year of COVID. But she plans to vote for Kamala, and “it’s not just because she’s a woman or she’s an African American,” she said.\u003c/p>\n\u003cp>“I feel like the direction Trump’s going, we’re not going to make it too long. And I also feel like if you could be a felon, indicted on felonies, and still run? I don’t think that’s fair.”\u003c/p>\n\u003cp>Stanberry went on to praise Harris’ mindset. “Even when working with Biden, she’s on our team, all the issues, she’s working for us. She’s for all minorities. No matter what descent, what you identify as, she’s equal to everybody. I feel like she’ll be a great president.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories of pop culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>[aside postid='arts_13962878']For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a-tDnavDCwI\u003c/p>\n\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iQXmlf3Sefg\u003c/p>\n\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>[aside postid='arts_13964075']It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA1WCp8hGB0\u003c/p>\n\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>[aside postid='arts_13962666']You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a-tDnavDCwI'\n title='//www.youtube.com/embed/a-tDnavDCwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iQXmlf3Sefg'\n title='//www.youtube.com/embed/iQXmlf3Sefg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\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/QA1WCp8hGB0'\n title='//www.youtube.com/embed/QA1WCp8hGB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966246\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue.png\" alt=\"A book cover featuring an open window looking out onto the sea.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Blue Hour’ by Paula Hawkins. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since bursting on the scene in 2015 with \u003cem>The Girl on a Train\u003c/em>, Paula Hawkins has established herself as a reliable writer of psychological thrillers set in the U.K. \u003cem>The Blue Hour\u003c/em> doesn’t plow any new ground on that front, but it’s a tight story with interesting characters that keeps you engaged until the end.\u003c/p>\n\u003cp>Set mostly on an isolated Scottish island named Eris, where a famous painter and ceramicist named Vanessa Chapman once lived and worked, the story begins with a discovery. A bone in one of Chapman’s sculptures, now owned by an estate, may be human. That revelation links together the three main characters — Chapman’s longtime companion Grace Winters, a Chapman scholar who works for Fairburn Estate named James Becker, and Julian, Chapman’s ex-husband who went missing 20 years ago.\u003c/p>\n\u003cp>[aside postid='arts_13966153']Told in the present, in flashbacks from two decades ago, and via excerpts from Chapman’s diary, the plot moves along steadily. It’s not really a keep-the-reader-guessing type of thriller, but more of a slow build that culminates in a shocking ending.\u003c/p>\n\u003cp>Hawkins weaves artistic themes and the creative process through the novel. Chapman’s diary entries are filled with references to the landscape that inspires her — the “terrible chaos” of waves, the sky “miraculous azure or threatening gunmetal.” The title refers to a time at dusk before the stars come out when the color leaches from the day but it’s not yet full dark. Hawkins’ prose often mirrors Chapman’s artistic eye. Here’s Becker’s first glimpse of Grace: “Her face is soft, cheeks relaxing gently into jowls, and her colors are muddied: from her bowl of hair to her slightly protuberant eyes … she is painted in varying shades of brown.”\u003c/p>\n\u003cp>The novel’s setting is a character unto itself. Eris is reachable from the mainland only when the tide is out, in two six-hour chunks each day, and so it’s a fine place to bury secrets — physical and psychological. Learning those secrets is the fun of the novel, and there are few authors writing today who drip them out, page by excruciating page, like Hawkins.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>’The Blue Hour’ by Paula Hawkins is released on Oct. 29, 2024, via Mariner Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_13966209\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png\" alt=\"A book cover with the word George written on it four tines.\" width=\"1365\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george.png 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1020x1495.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-768x1125.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/george-1048x1536.png 1048w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of George’ by Kate Greathead. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Book of George\u003c/em> is a novel of many finely crafted, often funny moments that arrive episodically as the title character grows older. At first he’s a millennial kid, then a college guy as the Twin Towers fall on 9/11.\u003c/p>\n\u003cp>In time, George — he’s given no surname — graduates and struggles over what to do with the rest of his life. Fate actually treats him pretty well. He’s an attractive, smart New Yorker; his family has some money; and he’s often quite lucky.\u003c/p>\n\u003cp>[aside postid='arts_13966153']But you wouldn’t know it from his clownish, sour, perplexed, defeatist attitude. He’s self-absorbed and self-disparaging, lovable and devilish — the list could go on.\u003c/p>\n\u003cp>The novel’s author, Kate Greathead, is a gifted storyteller who reels off dialogue filled with wit and humor so well it makes page-turning a pleasure and \u003cem>The Book of George\u003c/em> an easy read.\u003c/p>\n\u003cp>But just as the indecisive George doesn’t know where he is going in life, the reader doesn’t know where his story is going either. Getting there, in a way, is the point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George groans inwardly at the vacuous “sitcom-level banter” that comes easily to him in conversation. Greathead is deft at dishing out such dialogue, too, and chapter after chapter, as George ages and a variety of crises large and small arise, this episodic novel seems a form of first-rate TV sitcom between covers.\u003c/p>\n\u003cp>George would be glad to call it “the show about nothing,” similar to \u003cem>Seinfeld\u003c/em>. Then he would cancel it.\u003c/p>\n\u003cp>Choosing philosophy as his college major, George writes his thesis on Arthur Schopenhauer, a 19th-century philosopher often seen as deeply pessimistic, much like George himself. Greathead, in the book’s epigraph, quotes from an 1807 letter written by Johanna Schopenhauer to her 19-year-old son, Arthur, whom she says could be “a credit to human society” but is nevertheless “irritating and unbearable.”\u003c/p>\n\u003cp>George’s own mother, Ellen, couldn’t have said it better.\u003c/p>\n\u003cp>[aside postid='arts_13965937']After graduating, George eventually decides to become a writer. He starts a novel, but agonizes over the point of it. Early on, George says the book is “about a boy who grows up to be a man who is disappointed by life.” The book shifts gears over time. It’s title, finally, is \u003cem>All For Naught\u003c/em>.\u003c/p>\n\u003cp>George may be a doom-and-gloom sort, but that’s not the case for Greathead’s novel. Page after page, her writing is full of humor built around prickly sarcasm and woebegone twists in George’s life.\u003c/p>\n\u003cp>There are serious, even sad, moments, plus plot turns that give the narrative depth. The reader may begin to feel an emotional tug. Jenny, a young woman who falls in love with George, lives with him for long, often agonizing stretches. They hit midlife as the pandemic hits the country, and Jenny brings real poignancy to the story.\u003c/p>\n\u003cp>She even grasps, finally, what George is all about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of George’ by Kate Greathead is out on Oct. 8, 2024, via Henry Holt and Co.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George groans inwardly at the vacuous “sitcom-level banter” that comes easily to him in conversation. Greathead is deft at dishing out such dialogue, too, and chapter after chapter, as George ages and a variety of crises large and small arise, this episodic novel seems a form of first-rate TV sitcom between covers.\u003c/p>\n\u003cp>George would be glad to call it “the show about nothing,” similar to \u003cem>Seinfeld\u003c/em>. Then he would cancel it.\u003c/p>\n\u003cp>Choosing philosophy as his college major, George writes his thesis on Arthur Schopenhauer, a 19th-century philosopher often seen as deeply pessimistic, much like George himself. Greathead, in the book’s epigraph, quotes from an 1807 letter written by Johanna Schopenhauer to her 19-year-old son, Arthur, whom she says could be “a credit to human society” but is nevertheless “irritating and unbearable.”\u003c/p>\n\u003cp>George’s own mother, Ellen, couldn’t have said it better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After graduating, George eventually decides to become a writer. He starts a novel, but agonizes over the point of it. Early on, George says the book is “about a boy who grows up to be a man who is disappointed by life.” The book shifts gears over time. It’s title, finally, is \u003cem>All For Naught\u003c/em>.\u003c/p>\n\u003cp>George may be a doom-and-gloom sort, but that’s not the case for Greathead’s novel. Page after page, her writing is full of humor built around prickly sarcasm and woebegone twists in George’s life.\u003c/p>\n\u003cp>There are serious, even sad, moments, plus plot turns that give the narrative depth. The reader may begin to feel an emotional tug. Jenny, a young woman who falls in love with George, lives with him for long, often agonizing stretches. They hit midlife as the pandemic hits the country, and Jenny brings real poignancy to the story.\u003c/p>\n\u003cp>She even grasps, finally, what George is all about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of George’ by Kate Greathead is out on Oct. 8, 2024, via Henry Holt and Co.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>[aside postid='arts_13966146']Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc&t=59s\u003c/p>\n\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>[aside postid='arts_13965858']There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\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/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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