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"content": "\u003cfigure id=\"attachment_13966854\" class=\"wp-caption aligncenter\" style=\"max-width: 1409px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966854\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png\" alt=\"A book cover depicting a red light switch on a bright pink background.\" width=\"1409\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot.png 1409w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-800x1136.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1020x1448.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-768x1090.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/susan-minot-1082x1536.png 1082w\" sizes=\"(max-width: 1409px) 100vw, 1409px\">\u003cfigcaption class=\"wp-caption-text\">‘Don’t Be a Stranger’ by Susan Minot. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the very first page of Susan Minot’s latest novel, \u003cem>Don’t Be a Stranger\u003c/em>, Ivy Cooper, a single mother in her early 50s, has sex on her mind. The scene opens with her in the bath, thinking about the sex she’s had in that tub, the sex she’d like to have — but also, her bills, her writing, her young son, the Iraq war.\u003c/p>\n\u003cp>[aside postid='arts_13966531']So, when the doorbell rings and she runs to get it wrapped only in a towel, opening the door on a man some 20 years younger with a shadowed face, handsome, with “full mouth” and “bruised eyes,” you can guess where this story is going. “She saw something in him unusual, as if not touched by the usual things,” Minot writes in her characteristic style that is both dreamy and precise.\u003c/p>\n\u003cp>Over the next 300 pages Minot strives mightily to convey every aspect of Ivy’s obsessive desire for this vagabond musician, Ansel Fleming, who showed up that night to escort her to a party. It is a passion that defies common sense, promises to upend lives, and by the end of the novel, nearly drives her out of her mind.\u003c/p>\n\u003cp>Never mind that Ansel recently spent seven years in jail on a drug charge. That he tells her up front he’s not looking to fall in love. None of that can shake her conviction, formed the first night she met him, that wherever he was “held more dense molecules than were in the rest of the room.”\u003c/p>\n\u003cp>The counterpoint to Ivy’s drama with Ansel is her all-consuming love for and anxiety about her young son, Nicky. She is wracked with guilt for walking out on his father the year before, leaving their farm in Virginia to take the boy with her to New York, which she finds more conducive to her life as a writer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The novel toggles back and forth between these two stories, the erotic and maternal, interspersed with scenes from Ivy’s bohemian life in downtown New York with wealthier friends who invite her into their stylish homes. Then Nicky gets sick and suddenly, Ivy’s priorities become clear.\u003c/p>\n\u003cp>[aside postid='arts_13966651']In real life, we often become impatient with friends in the grip of an obsession, erotic or otherwise. So, too, in fiction, where it’s crucial that readers at a minimum remain interested in the lives of the characters. Minot succeeds intermittently in making us care about Ivy. As for Ansel, it’s obvious from the start that he’s pretty much of a jerk.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Be a Stranger’ by Susan Minot is out now, via Knopf.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In real life, we often become impatient with friends in the grip of an obsession, erotic or otherwise. So, too, in fiction, where it’s crucial that readers at a minimum remain interested in the lives of the characters. Minot succeeds intermittently in making us care about Ivy. As for Ansel, it’s obvious from the start that he’s pretty much of a jerk.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Be a Stranger’ by Susan Minot is out now, via Knopf.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>[aside postid='arts_13953890']The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>[aside postid='pop_101956']Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "7 (More) Bay Area Horror Movies For Your Halloween Viewing Pleasure",
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"content": "\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FzKZ-KXLtak\u003c/p>\n\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HIj7Qkr8WYU\u003c/p>\n\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=xP7cQnOcU7I\u003c/p>\n\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>[aside postid='arts_13933318']Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UDVjX2OBrwc\u003c/p>\n\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=rwsTYQ26QDQ\u003c/p>\n\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Q786UsnOcsY\u003c/p>\n\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=QX6V-tZn9VA\u003c/p>\n\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FzKZ-KXLtak'\n title='//www.youtube.com/embed/FzKZ-KXLtak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HIj7Qkr8WYU'\n title='//www.youtube.com/embed/HIj7Qkr8WYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xP7cQnOcU7I'\n title='//www.youtube.com/embed/xP7cQnOcU7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UDVjX2OBrwc'\n title='//www.youtube.com/embed/UDVjX2OBrwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rwsTYQ26QDQ'\n title='//www.youtube.com/embed/rwsTYQ26QDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q786UsnOcsY'\n title='//www.youtube.com/embed/Q786UsnOcsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QX6V-tZn9VA'\n title='//www.youtube.com/embed/QX6V-tZn9VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is the Killer Bachelor No. 1 or No. 2? Anna Kendrick’s Chilling ‘Woman of the Hour’",
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"content": "\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>[aside postid='arts_13966715']The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ODUdpwddTQk\u003c/p>\n\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ODUdpwddTQk'\n title='//www.youtube.com/embed/ODUdpwddTQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In an early scene in \u003cem>Smile 2\u003c/em>, the fictional pop superstar Skye Riley is in her drug dealer’s apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.\u003c/p>\n\u003cp>You certainly will after this horror romp — writer-director Parker Finn’s second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger.\u003c/p>\n\u003cp>[aside postid='arts_13966259']\u003cem>Smile 2\u003c/em> lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of \u003ca href=\"https://www.kqed.org/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga\">\u003cem>Joker: Folie à Deux\u003c/em>\u003c/a> have been putting up a brave face at their terrible box-office numbers.\u003c/p>\n\u003cp>So it’s the perfect time for a sequel to 2020’s \u003cem>Smile\u003c/em>, which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It’s a meditation on breakdowns in the public eye, with a side dish of body horror.\u003c/p>\n\u003cp>We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FU_bAopCcSE\u003c/p>\n\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what’s in store (or in score, the terrific work of Cristobal Tapia de Veer).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FU_bAopCcSE'\n title='//www.youtube.com/embed/FU_bAopCcSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.\u003c/p>\n\u003cp>The smile demon collides with Skye as she’s about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye’s mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He’s still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it’s just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-\u003cem>Thriller\u003c/em> sequence.\u003c/p>\n\u003cp>Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it’s an impromptu speech in front of music industry types that goes horrifically off the rails. He’s got a deeper target: How do we quiet those voices in our heads that say we’re no good?\u003c/p>\n\u003cp>Finn’s script sometime lags as he searches for an ending for \u003cem>Smile 2\u003c/em>, seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.\u003c/p>\n\u003cp>But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That’s a reason to, well, smile about.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Smile 2’ is out nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966652\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting.png\" alt=\"A book cover depicting a lone surfer at sunset.\" width=\"1348\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting.png 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting-800x1187.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting-1020x1513.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting-768x1139.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/waiting-1035x1536.png 1035w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">‘The Waiting’ by Michael Connelly. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s early morning in Southern California, and Renée Ballard, director of the LAPD Open-Unsolved Unit, is where she most loves to be. She’s surfing, and she’s darned good at it. After a final run, she returns to the parking lot and discovers that someone has broken into her car and stolen her badge and gun.\u003c/p>\n\u003cp>Protocol requires her to report this, but Ballard has more than her share of enemies in the department. She can’t afford to give them ammunition to take her down, so she breaks the rules and sets out alone to find the thief and get her stuff back.\u003c/p>\n\u003cp>[aside postid='arts_13966290']It’s an especially bad time for Ballard to be distracted by her own problem, because her unit is in the middle of two huge cases in \u003cem>The Waiting\u003c/em>, the sixth thriller in Michael Connelly’s fine Ballard and Bosch series.\u003c/p>\n\u003cp>For starters, a DNA check on a 24-year-old arrested on an unrelated charge has identified him as the son of the Pillowcase Rapist who terrorized Los Angeles for years before going silent in 2005. It turns out that the young man was raised by a politically connected Superior Court judge who may or may not be the biological father.\u003c/p>\n\u003cp>Meanwhile, rookie patrol officer Maddie Bosch, daughter of Harry Bosch, who once ran the Open-Unsolved unit, has joined Ballard’s team. She arrives with stunning evidence that may hold the key to solving the city’s most infamous unsolved murder — the brutal 1947 slaying of Elizabeth Short, a.k.a The Black Dahlia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As if that weren’t enough, Ballard’s hunt for her badge and gun uncovers a plot to use them in an imminent terrorist attack. To foil that, she enlists the help of her old friend and convalescing cancer patient Harry, the protagonist of 20 previous Connelly novels.\u003c/p>\n\u003cp>[aside postid='arts_13966297']Despite having to navigate the byzantine politics of the city’s justice system, including meddling higher ups and an intransigent prosecutor, Ballard and her team ultimately win the day. The multiple plot lines are suspenseful and unfold at a torrid pace, and as usual in a Connelly novel, the prose is tight and the characters are compelling and well-drawn. \u003cem>The Waiting\u003c/em> is the habitually best-selling author at the top of his game.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Waiting’ by Michael Connelly is out on Oct. 15, 2024, via Little, Brown and Company.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite having to navigate the byzantine politics of the city’s justice system, including meddling higher ups and an intransigent prosecutor, Ballard and her team ultimately win the day. The multiple plot lines are suspenseful and unfold at a torrid pace, and as usual in a Connelly novel, the prose is tight and the characters are compelling and well-drawn. \u003cem>The Waiting\u003c/em> is the habitually best-selling author at the top of his game.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Waiting’ by Michael Connelly is out on Oct. 15, 2024, via Little, Brown and Company.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966534\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png\" alt=\"A book cover featuring an abstract illustration of two women's heads and shoulders directly next to each other.\" width=\"1364\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-800x1173.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1020x1496.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-768x1126.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/shred-sisters-1048x1536.png 1048w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">‘Shred Sisters’ by Betsy Lerner. \u003ccite>(Grove Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was in the mood for a novel about family relationships, something \u003ca href=\"https://www.kqed.org/forum/903191000/cheever-a-life\">Cheever\u003c/a>-esque. Maybe, I thought, a sharp, contained work of fiction would be a temporary antidote to a world that feels out of control.\u003c/p>\n\u003cp>Because I admired Betsy Lerner’s 2016 memoir \u003ca href=\"https://www.npr.org/2016/04/28/476012418/mother-and-daughter-come-together-at-the-card-table-in-the-bridge-ladies\">\u003cem>The Bridge\u003c/em> \u003cem>Ladies\u003c/em>\u003c/a>, I thought her new debut novel \u003cem>Shred Sisters\u003c/em> might just be the right choice. Turns out, I landed on a good book for the wrong reasons.\u003c/p>\n\u003cp>[aside postid='arts_13966245']\u003cem>Shred Sisters\u003c/em> is, indeed, incisive and wry; but, given its central subject — an upper-middle-class, Jewish, suburban family all-but-capsized by the mental illness of one of its members — this novel is anything but contained and controlled.\u003c/p>\n\u003cp>\u003cem>Shred Sisters\u003c/em> spans the 1970s through the 1990s and focuses intensely on the relationship between the two Shred sisters who live with their parents in New Haven, Conn. Amy, the younger sister, is our narrator: She’s small, shy, a scrupulous obeyer of rules. One of her favorite games as a kid is one she calls “Movies” where she “scatter[s] garbage on the floor and sweep[s] it up” — like a theater usher.\u003c/p>\n\u003cp>Older sister Olivia, known as “Ollie,” is the star of the family: She’s beautiful, charismatic and — as becomes increasingly clear during her teenage years — she struggles with mental illness. Here are snippets from the opening of the novel, which takes place when Amy is 10 and Ollie is 14. Amy recalls that:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>By the time [Dad] reached Ollie, she was soaked in blood.\u003c/p>\n\u003cp>Ollie had dared me to jump on the couch with her. Using the thick cushions as a trampoline, she made a swishing sound as she jumped, touching the ceiling and dunking an imaginary basketball. Only when she took a jump shot from the side, not realizing the power in her legs, she crashed into the picture window behind the couch. For a second there was silence, then the window splintered into a web of shards that rained down on my sister …\u003c/p>\n\u003cp>Later [Ollie] joked that she looked like a giant tampon …\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>That opening gives fair warning of the erratic periods of chaos and exhaustion that will define the Shred family’s life for decades — especially as Ollie begins stealing things, raging and disappearing. She’s eventually sent to a psychiatric hospital that Amy and her parents tactfully refer to as “The Place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the aspects of coping with mental illness that Lerner vividly captures is the limits of 1970s and ’80s psychiatry to treat what Amy later speculates is bipolar disorder. The Shred parents never get a diagnosis for Ollie; Amy, left on her own, reads popular books of the era to try to grasp what’s going on: “They all had a girl on the cover [Amy tells us], brunette and brooding. \u003cem>Go Ask Alice\u003c/em> … \u003cem>The Bell Jar\u003c/em>. None of the girls reminded me of Ollie.”\u003c/p>\n\u003cp>[aside postid='arts_13966297']After two years, Ollie is discharged, unchanged, and disappears for even longer stretches. Drained of energy for each other, the Shred parents, Amy says, “split slowly, like the subterranean forces that pulled apart the jagged coasts of South America and Africa.”\u003c/p>\n\u003cp>As she did in \u003cem>The Bridge Ladies\u003c/em>, Lerner elevates what may sound like yet another pop saga of endurance, measured recovery and forgiveness into a closely observed story that’s ragged and wry. The final two-thirds of this novel focus on Amy herself — the usher in the shadows who’s spent decades powerlessly observing and cleaning up after this family movie.\u003c/p>\n\u003cp>Change, as we know, is hard; but, there’s a moment where the adult Amy, who’s been demoralized by loneliness and career failure, spontaneously walks into a hair salon. She’s pulled in by a sign that reads: “\u003cem>Never give up on your hair.”\u003c/em>\u003c/p>\n\u003cp>These are the kind of revelatory ordinary human moments Lerner captures with precision. As an affirmation, “\u003cem>Never give up on your hair\u003c/em>” turns out to be a more modest way to declare, “I will survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shred Sisters’ by Betsy Lerner is out now, via Grove Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After two years, Ollie is discharged, unchanged, and disappears for even longer stretches. Drained of energy for each other, the Shred parents, Amy says, “split slowly, like the subterranean forces that pulled apart the jagged coasts of South America and Africa.”\u003c/p>\n\u003cp>As she did in \u003cem>The Bridge Ladies\u003c/em>, Lerner elevates what may sound like yet another pop saga of endurance, measured recovery and forgiveness into a closely observed story that’s ragged and wry. The final two-thirds of this novel focus on Amy herself — the usher in the shadows who’s spent decades powerlessly observing and cleaning up after this family movie.\u003c/p>\n\u003cp>Change, as we know, is hard; but, there’s a moment where the adult Amy, who’s been demoralized by loneliness and career failure, spontaneously walks into a hair salon. She’s pulled in by a sign that reads: “\u003cem>Never give up on your hair.”\u003c/em>\u003c/p>\n\u003cp>These are the kind of revelatory ordinary human moments Lerner captures with precision. As an affirmation, “\u003cem>Never give up on your hair\u003c/em>” turns out to be a more modest way to declare, “I will survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shred Sisters’ by Betsy Lerner is out now, via Grove Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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>\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>\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/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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"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>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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"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>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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"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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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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