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"content": "\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>[aside postid='arts_13935076']“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>[aside postid='arts_13927540']“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>[aside postid='pop_95762']\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPDxtclZzVU\u003c/p>\n\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>[aside postid='pop_111446']The results, which aired in a \u003ca href=\"https://www.youtube.com/watch?v=1jXHFEy-ibc\">National Geographic special\u003c/a> last year, suggested that under some scenarios, \u003ca href=\"https://ew.com/movies/james-cameron-confesses-titanic-door-should-have-been-smaller/\">both Jack and Rose could have survived\u003c/a> on the makeshift raft had they known more about hypothermia and thermodynamics.\u003c/p>\n\u003cp>“In an experiment in a test pool, we can’t possibly simulate the terror, the adrenaline, all the things that worked against them,” Cameron said. “He couldn’t have anticipated what we know today about hypothermia. He didn’t get to run a bunch of different experiments to see what worked the best.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the end of the day, Cameron maintained Jack’s death was necessary both as a plot device and character choice. But said he would have done it differently based on what he knows now: “I would have made the raft smaller, so there’s no doubt.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+piece+of+wood+that+saved+%28only%29+Rose+in+%27Titanic%27+was+auctioned+off+for+%24718k&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\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/IPDxtclZzVU'\n title='//www.youtube.com/embed/IPDxtclZzVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13955312']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alice Rohrwacher’s Tombaroli Tale ‘La Chimera’ Is Pure Magic",
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"content": "\u003cp>When we talk about “movie magic,” the first thing that comes to mind is often something like the bikes achieving liftoff in \u003cem>E.T.\u003c/em> But it applies no less to Alice Rohrwacher’s wondrous \u003cem>La Chimera\u003c/em>, a grubbily transcendent folk tale of a film that finds its enchantment buried in the ground.\u003c/p>\n\u003cp>“Were you dreaming?” a train conductor asks the sleeping Arthur (Josh O’Connor), a distant, temperamental Brit in Italy with little more to his name than the rumpled cream-colored linen suit he wears. The answer is yes. Radiant memories of Arthur’s dead lover, Benjamina, haunt his dreams and propel him on a strange quest into the underground tombs of Tuscany.\u003c/p>\n\u003cp>[aside postid='arts_13954587']A melancholy spell seems to hang over Arthur, who has a mystical gift for finding ancient relics. It’s the early 1980s. Arthur is returning home from a stint in jail for grave robbing. His homecoming is received like a hero’s return by the scruffy, carnivalesque band of tombaroli — tomb raiders who plunder Etruscan artifacts — who look on Arthur more like a prince than a destitute thief. They call him “maestro.”\u003c/p>\n\u003cp>With remarkable precision, Arthur is able to point to where to dig. In one scene, he takes a small, bended branch as an instrument for his dowsing. \u003cem>La Chimera\u003c/em>, itself, seems to emerge almost the same way — an earthy, spellbinding buried treasure with a sublime drawing power.\u003c/p>\n\u003cp>The precise moment I fell totally in love with \u003cem>La Chimera\u003c/em> — and this is very much a movie to love — is an early montage in which Arthur and his fellow scavengers scamper across the countryside, hiding in fields from bumbling police, while a folk song about the tombarolo Englishman is sung. \u003cem>La Chimera\u003c/em>, the third in a loose trilogy for Rohrwacher following \u003cem>The Wonders\u003c/em> and \u003cem>Happy as Lazzaro\u003c/em>, is the fullest realization yet of her cinema of “magical neo-realism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rohrwacher’s great fascination is with the past. The hold it can have on the present. The vast yet minuscule distance between long-ago and today. \u003cem>Happy as Lazzaro\u003c/em> charmingly walked a 19th century peasant into present day.\u003c/p>\n\u003cp>\u003cem>La Chimera\u003c/em> is even more beguiling and mournful. The tombaroli make a merry band, but Arthur’s plight is shadowed by death. “He was looking for a passage to the afterlife,” one of his companions says in the film, one of a handful of direct addresses. (Rohrwacher, a devotee of Italian folk tales, spins her films like a playful narrator in an old fairy tale. She’s among the most thrillingly original filmmakers working today.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iv5JQpxKle0\u003c/p>\n\u003cp>Arthur and company make cash by selling their unearthed Etruscan wares. But he’s driven less by money than a compulsion to reach the dead, to reach Benjamina. How deep will he dig? Will the darkness of the underworld envelop him?\u003c/p>\n\u003cp>Arthur also makes occasional visits to the mother of Benjamina, Flora (a typically magnificent Isabella Rossellini ), who, like him, has not yet accepted the death of her daughter. She receives him courteously and deferentially, with an old-world manner. Flora’s other daughters snicker that she only lets men smoke in the house.\u003c/p>\n\u003cp>[aside postid='arts_13954491']At her crumbling villa, Arthur meets Italia (Carol Duarte, fabulous), a singing student who, Flora says, is tone deaf. But she might be the sharpest observer in the film. Italia, alone, is horrified by the plundering of the graves. In other ways, she’s the embodiment of the time the tombs recall. It’s noted that the Etruscans elevated women in society — one of, though not the only, relic of the past that \u003cem>La Chimera\u003c/em> brings forward to today.\u003c/p>\n\u003cp>Past and present mingle in mysterious ways in \u003cem>La Chimera\u003c/em>. The greatest Etruscan discovery — a glorious subterranean chamber — is made on a beach with a factory just down the shoreline. But the even more remarkable excavation of the film is of Arthur’s grieving soul. O’Connor is exquisite in a role that requires the deftest balance of tangible reality and otherworldly fable.\u003c/p>\n\u003cp>Like so many things in \u003cem>La Chimera\u003c/em>, O’Connor’s performance is entrancing and confounding. How can a movie be so nimbly poised between past and present, you can’t help but wonder. The stuff of fairy tales — of a kind of storytelling magic — is what Rohrwacher, herself, wants to unearth. “Were you dreaming?” Good question.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘La Chimera’ is released in select theaters nationwide on March 29 and opens at San Francisco’s Roxie Theater on April 12, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rohrwacher’s great fascination is with the past. The hold it can have on the present. The vast yet minuscule distance between long-ago and today. \u003cem>Happy as Lazzaro\u003c/em> charmingly walked a 19th century peasant into present day.\u003c/p>\n\u003cp>\u003cem>La Chimera\u003c/em> is even more beguiling and mournful. The tombaroli make a merry band, but Arthur’s plight is shadowed by death. “He was looking for a passage to the afterlife,” one of his companions says in the film, one of a handful of direct addresses. (Rohrwacher, a devotee of Italian folk tales, spins her films like a playful narrator in an old fairy tale. She’s among the most thrillingly original filmmakers working today.)\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/iv5JQpxKle0'\n title='//www.youtube.com/embed/iv5JQpxKle0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur and company make cash by selling their unearthed Etruscan wares. But he’s driven less by money than a compulsion to reach the dead, to reach Benjamina. How deep will he dig? Will the darkness of the underworld envelop him?\u003c/p>\n\u003cp>Arthur also makes occasional visits to the mother of Benjamina, Flora (a typically magnificent Isabella Rossellini ), who, like him, has not yet accepted the death of her daughter. She receives him courteously and deferentially, with an old-world manner. Flora’s other daughters snicker that she only lets men smoke in the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At her crumbling villa, Arthur meets Italia (Carol Duarte, fabulous), a singing student who, Flora says, is tone deaf. But she might be the sharpest observer in the film. Italia, alone, is horrified by the plundering of the graves. In other ways, she’s the embodiment of the time the tombs recall. It’s noted that the Etruscans elevated women in society — one of, though not the only, relic of the past that \u003cem>La Chimera\u003c/em> brings forward to today.\u003c/p>\n\u003cp>Past and present mingle in mysterious ways in \u003cem>La Chimera\u003c/em>. The greatest Etruscan discovery — a glorious subterranean chamber — is made on a beach with a factory just down the shoreline. But the even more remarkable excavation of the film is of Arthur’s grieving soul. O’Connor is exquisite in a role that requires the deftest balance of tangible reality and otherworldly fable.\u003c/p>\n\u003cp>Like so many things in \u003cem>La Chimera\u003c/em>, O’Connor’s performance is entrancing and confounding. How can a movie be so nimbly poised between past and present, you can’t help but wonder. The stuff of fairy tales — of a kind of storytelling magic — is what Rohrwacher, herself, wants to unearth. “Were you dreaming?” Good question.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘La Chimera’ is released in select theaters nationwide on March 29 and opens at San Francisco’s Roxie Theater on April 12, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Complete Timeline of Sean ‘Diddy’ Combs’ Assault and Harassment Accusations",
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"content": "\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003cp>On May 17, 2024, \u003ca href=\"https://www.cnn.com/2024/05/17/entertainment/sean-combs-cassie-ventura/index.html\">surveillance footage was released by CNN\u003c/a> showing Combs shoving, kicking and dragging Cassie across the hallway of a Los Angeles hotel. \u003ca href=\"https://www.instagram.com/reel/C7J4iUFRGUk/?igsh=MTdnejMxZXZ3YXpxNA%3D%3D\">Combs posted an apology video\u003c/a> to Instagram, stating in part: “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I was disgusted then when I did it, and I’m disgusted now.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>[aside postid='arts_13934462']Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\u003c/p>\n\u003ch2>April 4, 2024: Grace O’Marcaigh sues Combs and his son\u003c/h2>\n\u003cp>In December 2022, O’Marcaigh worked as a crew member on a yacht that Combs had leased for the holidays. The then-25-year-old worked from 6 p.m to 6 a.m nightly, and was tasked with serving dinner and drinks to Combs, his friends and, allegedly, a variety of sex workers.\u003c/p>\n\u003cp>[aside postid='arts_13933160']\u003ca href=\"https://deadline.com/wp-content/uploads/2024/04/combs-conformed-suit.pdf\">The lawsuit\u003c/a> makes clear that O’Marcaigh strongly suspected that drinks on board were regularly laced with drugs. She also alleges that on Dec. 28, Combs’ son Christian arrived “heavily intoxicated,” manhandled her while she was trying to serve him drinks and forced her to sit with him. O’Marcaigh claims that, once in that position, she was intimately groped by both Sean and Christian Combs. In addition, the lawsuit includes transcripts of recordings apparently made by Rodney ‘Lil Rod’ Jones in which O’Marcaigh repeatedly tells Christian to stop touching her, asks to leave since her shift has finished and openly questions the content of the tequila he is pressuring her to consume.\u003c/p>\n\u003cp>O’Marcaigh claims that Christian then used the excuse of needing to be shown to sleeping quarters in order to get her alone and sexually assault her. She says that she succeeded in getting away from him only after another staff member entered the room. O’Marcaigh says that she was forced to continue serving the Combs family even after complaining to the ship’s captain, and that the senior Combs had given the captain “a generous tip … in order to keep [him] quiet.”\u003c/p>\n\u003ch2>May 21, 2024: Crystal McKinney files a lawsuit\u003c/h2>\n\u003cp>\u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2024/05/diddy-v-crystal-mckinney-complaint-may-2024.pdf\">McKinney’s lawsuit\u003c/a> states that in 2003, when she was 22 and working as a model, she was introduced to Combs by a fashion designer in New York. After having dinner together, Combs invited McKinney to his studio where, she alleges, she was given a joint that she believes was laced with something stronger than weed.\u003c/p>\n\u003cp>McKinney says that once she was visibly intoxicated, Combs led her to a bathroom and forced her to perform oral sex, after which she passed out. McKinney claims she woke up in a taxi and quickly realized that she had been sexually assaulted. McKinney also believes that Combs then used his influence to hamper her career.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003cp>On May 17, 2024, \u003ca href=\"https://www.cnn.com/2024/05/17/entertainment/sean-combs-cassie-ventura/index.html\">surveillance footage was released by CNN\u003c/a> showing Combs shoving, kicking and dragging Cassie across the hallway of a Los Angeles hotel. \u003ca href=\"https://www.instagram.com/reel/C7J4iUFRGUk/?igsh=MTdnejMxZXZ3YXpxNA%3D%3D\">Combs posted an apology video\u003c/a> to Instagram, stating in part: “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I was disgusted then when I did it, and I’m disgusted now.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\u003c/p>\n\u003ch2>April 4, 2024: Grace O’Marcaigh sues Combs and his son\u003c/h2>\n\u003cp>In December 2022, O’Marcaigh worked as a crew member on a yacht that Combs had leased for the holidays. The then-25-year-old worked from 6 p.m to 6 a.m nightly, and was tasked with serving dinner and drinks to Combs, his friends and, allegedly, a variety of sex workers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://deadline.com/wp-content/uploads/2024/04/combs-conformed-suit.pdf\">The lawsuit\u003c/a> makes clear that O’Marcaigh strongly suspected that drinks on board were regularly laced with drugs. She also alleges that on Dec. 28, Combs’ son Christian arrived “heavily intoxicated,” manhandled her while she was trying to serve him drinks and forced her to sit with him. O’Marcaigh claims that, once in that position, she was intimately groped by both Sean and Christian Combs. In addition, the lawsuit includes transcripts of recordings apparently made by Rodney ‘Lil Rod’ Jones in which O’Marcaigh repeatedly tells Christian to stop touching her, asks to leave since her shift has finished and openly questions the content of the tequila he is pressuring her to consume.\u003c/p>\n\u003cp>O’Marcaigh claims that Christian then used the excuse of needing to be shown to sleeping quarters in order to get her alone and sexually assault her. She says that she succeeded in getting away from him only after another staff member entered the room. O’Marcaigh says that she was forced to continue serving the Combs family even after complaining to the ship’s captain, and that the senior Combs had given the captain “a generous tip … in order to keep [him] quiet.”\u003c/p>\n\u003ch2>May 21, 2024: Crystal McKinney files a lawsuit\u003c/h2>\n\u003cp>\u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2024/05/diddy-v-crystal-mckinney-complaint-may-2024.pdf\">McKinney’s lawsuit\u003c/a> states that in 2003, when she was 22 and working as a model, she was introduced to Combs by a fashion designer in New York. After having dinner together, Combs invited McKinney to his studio where, she alleges, she was given a joint that she believes was laced with something stronger than weed.\u003c/p>\n\u003cp>McKinney says that once she was visibly intoxicated, Combs led her to a bathroom and forced her to perform oral sex, after which she passed out. McKinney claims she woke up in a taxi and quickly realized that she had been sexually assaulted. McKinney also believes that Combs then used his influence to hamper her career.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary",
"headTitle": "‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary | KQED",
"content": "\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>[aside postid='arts_13954358']And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d30IaPx5Qc8\u003c/p>\n\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\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/d30IaPx5Qc8'\n title='//www.youtube.com/embed/d30IaPx5Qc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre",
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"content": "\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\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/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>[aside postid='arts_13954333']She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sDhsfV7r_1w\u003c/p>\n\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>[aside postid='arts_13953248']But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\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/sDhsfV7r_1w'\n title='//www.youtube.com/embed/sDhsfV7r_1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Threats, Debt and Trump’s Advances: ‘Stormy’ Doc Examines the Life of Stormy Daniels",
"headTitle": "Threats, Debt and Trump’s Advances: ‘Stormy’ Doc Examines the Life of Stormy Daniels | KQED",
"content": "\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tE7h_TJkxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>[aside postid='arts_13954225']On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>[aside postid='arts_13954104']But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>[aside postid='arts_13938155']But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951078']“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jake Gyllenhaal’s ‘Road House’ Remake Is ... Surprisingly Good?",
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"content": "\u003cp>Elwood P. Dalton is a classy sort of bouncer. While five tough guys circle him outside a bar looking to bash his skull in, he has a question for them: “Before we start, do you have insurance?” And after savagely beating each up, he kindly drives them to the hospital.\u003c/p>\n\u003cp>Dalton — played by a muscular and languid Jake Gyllenhaal — is a former UFC fighter with a dark past in \u003cem>Road House\u003c/em>, a reworking of the pulpy \u003ca href=\"https://www.kqed.org/arts/13951144/road-house-original-streaming-patrick-swayze-1989-action\">1989 action film starring Patrick Swayze\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13953248']“You sure you thought this all the way through?” Dalton at one point asks an assailant who has the nerve to plunge a knife into his abdomen. The same question can be asked of the filmmakers: Is it really wise to retread this old flick? The answer is as shocking as a sucker punch: Yes, indeed.\u003c/p>\n\u003cp>Gyllenhaal is a sort of Spider-Man-meets-Jack Reacher-meets Jason Bourne, an oddball loner with ferocious fighting abilities who makes a living in illegal fights and lives in his car, haunted by what he did to a friend in the octagon. He douses booze on his open wounds and uses electrical tape instead of a bandage, yet he also oddly uses wheelie luggage. (You expected a big old black duffel, right?) What’s in the baggage? A death wish, of course.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y0ZsLudtfjI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He is lured to the Florida Keys by a roadhouse bar owner (the always brilliantly tart Jessica Williams), who needs an excellent bouncer to protect her from nightly violence. He’s offered $5,000 a week to stop thugs in sleeveless jean jackets from throwing bottles, flipping tables and breaking pool cues. (The Florida tourist board will love this movie).\u003c/p>\n\u003cp>[aside postid='arts_13951144']“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13953601']Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m hoping you’re different,” a bar employee says and he is. Dalton settles in the fictional Glass Key, dates a cutie, makes friends with the good folk and lives in what all damaged loners gravitate to, a houseboat. He soon teaches the other bouncers the tricks of the trade, Zen-like, and finds excellent reasons to take off his shirt.\u003c/p>\n\u003cp>“I’m just some guy,” he says. “You don’t want to know me.”\u003c/p>\n\u003cp>Then he uncovers a conspiracy right out of \u003cem>Scooby-Doo\u003c/em>: The land under the bar is crucial to the creation of a luxury resort dreamed up by the local rich guy and crooked cops. Basically, organized crime is trying to drive the bar owner out of business. “Zoinks!”\u003c/p>\n\u003cp>At this point, \u003cem>Road House\u003c/em> gets an instant jolt of electricity from former UFC fighter Conor McGregor, who makes his acting debut as a psychotic gun-for-hire Knox. He may have one of the best intros in film history, casually walking down a European town buck naked except for a pair of boots.\u003c/p>\n\u003cfigure id=\"attachment_13954340\" class=\"wp-caption aligncenter\" style=\"max-width: 1760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954340 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png\" alt=\"A shirtless and very muscular bearded man stands poised to fight, clutching a dagger.\" width=\"1760\" height=\"1190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM.png 1760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-19-at-11.19.02-AM-1536x1039.png 1536w\" sizes=\"(max-width: 1760px) 100vw, 1760px\">\u003cfigcaption class=\"wp-caption-text\">Conor McGregor in ‘Road House.’ \u003ccite>(Laura Radford/ Prime Video via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dalton and Knox are destined to go mano-a-mano and there’s a grudging respect between them. They’re both deeply cut and they’re both messed up. “There’s something wrong with you. Me too,” the Irish mountain of muscles says. He’s the sort of chaos agent who picks up a golf club and says he wants to go “clubbing.”\u003c/p>\n\u003cp>Like a night of heavy drinking, things gets a little bizarre toward the end of the movie as it starts straying far from the roadhouse. Speed boats go flying, explosions go bang and someone uses arson to send a message. A deadly crocodile that plays an outsized role is sadly abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Screenwriters Anthony Bagarozzi and Charles Mondry have leaned into cliches — dead mothers, double-crosses and quirky kids that pull out the paternal part of our heroes. But a menacing, unstable McGregor is a gift. So is Billy Magnussen, who plays the rich boy bully deliciously preppy. He’s so evil, he throws his cellphone into the ocean out of frustration, then asks an underling to retrieve it.\u003c/p>\n\u003cp>\u003cem>The Bourne Identity\u003c/em> director Doug Liman seems to be having fun, his camera lingering on the chiseled beefsteak and mixing in honky tonk songs by the deliciously named Rockin’ Dopsie Jr. & The Zydeco Twisters. The action scenes are dynamite, layering POV camera work with great, thundering, bottle smashing stunts. It knows it’s silly, but it’s still a good time.\u003c/p>\n\u003cp>That’s reason enough that Liman is upset the movie is avoiding cineplexes and going straight to streaming. But he could rectify that. He could hire, like, an unstable, but gracious, former fighter who lives in his car. For a few thousand, that guy can make things right.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Road House’ begins streaming on Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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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",
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"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": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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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",
"title": "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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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",
"subscribe": {
"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",
"subscribe": {
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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",
"subscribe": {
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"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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